Digitized  by  the  Internet  Archive 
in  2016  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/descriptivecatal00unse_2 


r 


' 


Descriptive  Catalogue 

OF  THE 


THOMAS  B.  WALKER 

Art  Collection 


803  HENNEPIN  AVENUE 
MINNEAPOLIS.  MINN. 


M- 

5210 

lollop 


1913 


' 

H 3 >f  J A W . c A K'  O • T 


Hit,  J.  PAUL  GETTY  MUSEUM  LIBRARY 


— i UAH.* Tr-f  - T 

LOS  ANGELES  MtISETTM 
EXPOSITION  PARK 


ARTISTS  REPRESENTED 


BEECHEY,  Sir  Wm,  1. 

BERCHEM,  Nicholas,  2,  3. 

BENSON,  Ambrosius,  4. 

BRETON,  Jules  Adolph,  5,  6. 

BREVORT,  James  Renwick,  7. 

BERRY,  P.  V.,  8. 

BIERSTADT,  Albert,  9. 

BODECKER,  Johannes  F.,  10. 

BLOEMEN,  Pieter  Yon,  11. 

BOL,  Ferdinand,  12,  13,  14. 

BONHEUR,  August  F.,  15. 

BONHEUR  (Marie)  Rosa,  16,  17,  18. 

BONONI,  Carlo,  19. 

BRONZENO,  Allori  Alesandro,  20.' 
BOULANGER,  Gustave  R.  C.,  21,  22. 
BOUGEREAU  (William)  Adolph,  23. 

BOUTS  (Dieriek),  24. 

BRUEGHEL,  Ambrose,  25. 

BRUEGHEL,  Pieter  the  Elder,  26. 

CARPENTIER,  Adrien,  27. 

CEDERSTROM,  Thure  Yon  Baron,  28. 

CRAIG,  Thos.  R.,  A.  N.  A.,  29. 

CAZIN,  Jean  Charles,  30,  31,  32,  33,  34,  35,  36, 
37,  38,  39,  40. 

CIPRIANI,  Gio  Battista,  41. 

CANO,  Alonso,  42. 

CONSTABLE,  John,  43,  44,  45,  46,  47,  48,  49,  50. 
COLE,  Thos.,  51,  52. 

COLEMAN,  Samuel,  53. 

CROCHEPIERRE,  Andre  Antoine,  54,  55. 
COROT,  Jean  Baptiste  Camille,  56,  57,  58,  59,  60, 
61,  62,  63,  64,  65,  66,  67,  68,  69,  70. 
CORREGGIO,  Antonio  Allegri,  71. 

COTES,  Francis,  72. 

CUYP,  Albert,  73,  74. 

CLOUET,  Francis,  called  Janet,  75. 

CHURCH,  Frederick  Edwin,  76. 

DAVID,  Jacques  Louis,  77,  78. 

DAUBIGNAY,  Charles  Francois,  79,  SO,  81,  82, 
83,  84. 

DEVE.  E.,  85. 

DEMONT-BRETON,  Mme.  Virginia  Elodie,  86. 
DESMOULINS,  Auguste,  87. 

DE  BRUSH,  George  F.,  88. 

DEL  SARTO,  Andrea,  89. 

DIAZ.  Narcisse  Virgile,  90,  91,  92,  93,  94,  95, 
96.  97,  98,  99,  100,  101. 

DIETERLE,  Mme.  Marie,  102. 

DIETRICH,  Christian  W.  E.,  103,  104,  105. 
DOLCI,  Carlo,  106,  107. 

DOBSON,  Sir  William,  108,  109,  110,  111. 
DUGHET,  GASPARD,  112. 

DURER,  Albrecht,  113. 

DUPRE,  Julien,  114. 

DUPRE,  Jules,  115,  116,  117,  118. 

DUPRE,  Leon  Victor,  119. 


DYCK,  Sir  Anthony  Van,  120,  121,  122. 

ELLIOTT,  Charles  Loring,  123. 

FRANCAIS,  Francois  Louis,  124. 

E’RANCIA,  Francesco  Giacomo,  125. 

FABRITIUS,  Karel,  126. 

FRERE,  Theodore,  127. 

FERRIER,  J.  M.  A.  Gabriel,  128. 

FLINCK,  Govaert,  129,  130,  131. 

FUECHSELL,  Herman,  132,  133. 

FURINI,  Francesco,  134. 

GAINSBOROUGH,  Thomas,  R.  A.,  135,  136,  137. 
GALLETTI,  Sebastino,  138. 

GERARD,  Baron  Francois  Pascal  Simon,  139,  140. 
GELDER  (Arnold  de),  141. 

GERICAULT,  Jean  Louis  Andre  Theodore,  142. 
GREUZE,  Jean  Baptiste,  143,  144,  145,  146. 
GEROME,  Jean  Leon,  147. 

GHIRL  AND  A J 0,  Domenico  del,  14S. 

GIRODET,  de  Boussy  Anne  Louis  (Girodet  Trio- 
son),  149. 

GROS,  Antoine  Jean,  Baron,  150,  151. 

GUARDI,  Francesco,  152. 

HALS,  Frans,  153. 

HAMMAN,  Edouard  Jean  Conrad,  154. 
HAMILTON,  James,  155. 

HARPIGNIES,  Henri,  156,  157,  158. 

I-IART,  James  McDougal,  159,  160. 

HARLOW,  George  Henry,  161,  162. 

HELST,  Bartholomeus  Van  der,  163. 

HERMANN.  Leo.  164. 

HEN  NEB,  Jean  Jacques,  165,  166. 
HEEMSKERK,  Egbert  Van  (The  Elder),  167. 
HOGARTH,  William,  168. 

HOBBEMA,  Minderhout,  169,  170. 

HOLBEIN,  Hans  the  Younger,  171. 

HOPPNER.  John,  172. 

HOOGSTRAATEN  Van,  Samuel,  173. 

HUGUET,  Victor,  174. 

HUNTINGTON,  Daniel,  R.  A.,  175. 

INMAN,  Henry,  176. 

INGRES,  Jean  Auguste  Dominique,  177. 

ISBEY,  Jean  Baptiste,  178. 

INNESS,  George,  N.  A.,  179,  ISO. 

INNESS,  George  Jr.,  181,  182,  183. 

JACQUE,  Charles  Emile,  184,  185. 

JETTELL,  E.,  186. 

JANSSEN,  Cornelius,  187,  188,  189,  190. 

JONES,  Hugh  Bolton,  191. 

JULIEN,  Simon,  192. 

KAUFFMAN,  Marie  Anna  Angelica  Catharine, 
193. 

KNAUS,  Prof.  Ludwig,  194. 

LAWRENCE,  Sir  Thomas,  195,  196,  197,  198. 


1 


ARTISTS  REPRESENTED 


LANDSEER,  Sir  Edwin  Henry,  R.  A.,  199. 
LAURENS,  Jean  Paul,  200. 

LEFEBVRE,  Jules  Joseph,  201. 

LEFEVRE,  Robert,  202. 

LEROLLE,  Henri,  203,  204. 

LE  BRUN,  Charles,  205. 

LELY,  Sir  Peter,  206,  207. 

LIEVENS,  Jan,  208. 

LORRAINE,  Claude  (Claude  Gallee),  209,  210, 

211,  212. 

LOSSOW,  Heinrich,  213,  214. 

LOUTHERBOURG,  Philippe  Jacques  de,  215. 
LUINI,  Bernadino,  216. 

MARATTI,  Carlo,  217,  218. 

MARILHAT,  Prosper,  219. 

MAX,  Gabriel,  220. 

MAZZUOLI,  Francesco,  221. 

MEADOWS,  J.,  222. 

MENESES,  Osorio  Francisco,  223,  224,  225. 
MEULEN,  Adam  Frans  Van  der,  226. 

MIGNARD,  Pierre,  227. 

MICHEL,  Georges,  228. 

MICHELANGELO,  Buonarrotti,  229. 
MIEREVELT,  Michael  .Tans*™  Vcn.  230. 
MILLET,  Jean  Francois,  231. 

MINOR,  Robert  C.,  232. 

MORAN,  Edward,  233. 

MORAN,  Thomas,  234,  235. 

MONTICELLI,  Adolphe,  236. 

MORLAND,  George,  237. 

MURILLO,  Bartholome  Esteban,  238,  239,  240, 
241. 

MYTENS,  Daniel,  242,  243. 

NEER.  Aart  Van  Der.  244. 

NICHOLSON.  G.  W..  245. 

OERTEL,  Johannes  A.,  246. 

OPIE,  John,  247. 

PARMENTIER,  Jacques,  248. 

PANNINI,  Cavaliere  Giovanni  Paolo,  249. 
PARTON,  Arthur,  250. 

PEALE,  Charles  Wilson,  251,  252. 

PEALE,  Rembrandt,  253,  254,  255. 

PEBBLES,  Frank  M.,  256. 

PIOMBO,  Sebastiano  del,  257. 

PORBUS,  Francis,  Jr.,  258. 

POUSSIN,  Nicholas,  259. 

RAMSAY,  Allan,  260. 

RAPHAEL,  261. 

RAEBURN,  Sir  Henry,  262,  263,  264,  265. 


RAVESTEYN,  Jan  Van,  266. 

RAU,  Emil,  267. 

RENI,  Guido,  268T 

REMBRANDT,  Van  Rijn,  269,  270,  271,  272,  273, 
274,  275,  276,  277,  278,  279. 

REYNOLDS,  Sir  Joshua,  280,  281,  282,  283. 
RICHARDS,  William  Trost,  284. 

RIX,  JULIAN,  285,  286. 

RIGAUD,  Hyacinthe,  287. 

ROMNEY,  George,  288,  289,  290,  291. 

ROBIE,  Jean  Baptiste,  292. 

ROSIER,  Jean  Guillaume,  293. 

ROUSSEAU,  Theodore,  294,  295,  296,  297,  298. 
RUBENS,  Peter  Paul,  299,  300,  301,  302. 

SAFT-LEVEN,  Herman,  303. 

SANCHEZ-COELLO,  Alonzo,  304. 

SWANEVELT,  Herman,  305,  306. 

SCHREIBER,  Charles  Baptiste,  307. 
SCHREYER,  Adolphe,  308,  309,  310. 

STRIJ  (or  Stry),  Abraham  Van,  311. 

STUART,  Gilbert,  312,  313,  314. 

SCHIRMER,  Johann  Wilhelm,  315. 
SCHUSSELLE,  E.,  316. 

STUDENTS  IN  PERUGINO’S  STUDIO,  317. 

THAULOW,  Fritz,  318,  319. 

TENIERS,  David  (The  Younger),  320,  321. 
TIEPOLO,  Giovanni,  322. 

TINTORETTO,  Jacopi,  323,  324. 

THOM,  James  Crawford,  325. 

TOQUE,  Jean  Louis,  326. 

TROYON,  Constant,  327,  328,  329,  330,  330A. 
TURNER,  J.  M.  W.,  R.  A.,  331,  332,  333,  334, 
335,  336,  337,  338,  339,  340,  341,  342,  343,  344, 
345,  346. 

UTERBERGER,  Franz,  347. 

VAN  MARCKE,  Emile,  348,  349. 

VASARI,  Giorgio,  350. 

VERONESE,  Paolo,  351. 

VERBOECKHOVEN,  Eugene  Joseph,  352. 
VUILLEFROY,  Dominique  Felix  de,  353. 

WALKER,  James  Alexander,  354. 

WATSON,  William,  355. 

WESTERBEEK,  C.,  356. 

WILSON,  Richard,  357,  358. 

WYANT,  Alexander  H.,  359. 

ZAMPIERI,  Domenico,  360. 

ZIEM,  Felix,  361,  362,  363,  364,  365,  366,  367, 
368,  369,  370,  371. 


II 


Voluntary  Comments  by  Art  Writers 
and  Visitors 

Followed  by  Alphabetical  List  of  Painters  and  Title  of  Painting. 


A FEW  EXTRACTS  TAKEN  FROM  A REVIEW  OF  THE  T.  B. 

WALKER  GALLERY. 


SIR  WILLIAM  VAN  HORNE, 
MONTREAL. 


Montreal,  December  2,  1912. 


Mr.  T.  B.  Walker,  Minneapolis,  Minn. 

Dear  Mr.  Walker:  This  is  the  first  opportunity  I have  had  for  writing 

since  I had  the  pleasure  of  seeing  you  and  your  extraordinary  art  collections 
in  Minneapolis.  Indeed  I am  not  even  yet  able  to  collect  and  arrange  my 
thoughts  of  all  I saw  there.  My  five  hours  were  much  too  short  for  such 
a mass  of  things.  One  might  almost  as  well  try  to  see  the  National  Gallery 
and  the  British  Museum  in  the  same  time.  I came  away  with  my  mind  in 
a blur  of  beautiful  pictures,  ceramics,  bronzes  and  rugs.  Somehow,  that 
cabinet  of  Han,  Sung  and  Ming  pieces  persists  more  than  anything  else 
perhaps  because  of  its  being  all  together  and  more  comprehensible. 

With  many  thanks  for  your  great  kindness,  I am, 

Most  sincerely, 

(Signed)  W.  C.  VAN  HORNE. 

P.  S.  Mr.  Eilers  was  almost  speechless  when  he  came  away. 

Minneapolis,  Minn.,  August  3.  1912. 

I have  seen  all  the  principal  galleries  of  Europe  and  this  collection  is 
the  finest  of  all. 


MR.  JOHN  J.  BASTING. 

A LUMBERMAN’S  LOVE  OF  ART. 


Almost  in  the  heart  of  Minneapolis  is  a large  mansion.  A constant 
stream  of  visitors  will  be  noted  entering  and  leaving  its  spacious  doorways. 
It  is  the  residence  of  one  of  the  country’s  wealthiest  lumbermen,  whose 
great  holdings  have  covered  an  area  greater  than  some  European  princi- 
palities. But  the  guests  come  not  to  see  a millionaire.  They  come  to  wander 
quietly  through  big  chambers  which  contain  an  art  collection  of  priceless 
value,  in  some  respects  the  greatest  of  its  kind.  Think  of  it!  Specimens  of 
Raphael,  Michael  Angelo,  Rubens,  Van  Dyck,  Rembrandt,  Turner  and  many 
others;  the  finest  collection  of  old  jade  and  crystal  in  the  world;  old  Egyp- 
tian relics  dating  2,000  B.  C. ; an  extraordinary  collection  of  miniatures 
representing  the  world  in  its  gallery! 

This  is  the  famous  Thomas  B.  Walker  Art  Collection,  which  is  at 


LOS  ANGELES  Muii^ 


— MUSEUM 

EXPOSITION  PARE  I 


once  so  well  known — to  connoisseurs — and  so  unknown  to  the  crowd. 
Famous  men  and  women  of  many  lands  have  viewed  it  and  praised  it.  Dr. 
Herrick  and  I met  the  old  lumberman  strolling  among  his  treasures,  glad 
in  the  pleasure  they  gave  his  guests,  the  public.  He  appeared  more  like  a 
retired  clergyman,  quiet,  graybearded  and  frock-coated.  Still  active  in 
Methodist  Church  work,  he  smilingly  gave  the  Journambulist  a little  book 
which  he  had  compiled,  “The  Testimon}^  of  the  Ages,”  regarding  the  abiding  ) 
influence  of  religious  faith. 

The  Journambulist  returned  to  his  hotel  that  afternoon,  thoughtful 
as  from  a church  service.  The  Presbyterian  editor  with  his  ideals  in  journal-  ; 
ism,  the  Congregational  banker  with  his  conceptions  of  public  service,  the 
Methodist  millionaire  with  his  priceless  collection  of  treasures,  shared 
freely  with  all  who  cared — it  was  the  Christian  manhood  of  the  northwest 
dominating  the  hustle  and  hurricane  of  prosperity.  As  the  dollars  grow 
more  numerous,  they  often,  too,  grow  smaller.  The  rushing  flood  of  money- 
getting is  succeeded,  perhaps  more  often  than  the  pessimist  lets  us  realize, 
by  the  still,  deep  tides  of  philanthropy  and  public  welfare.  The  signs  of 
Roman  decay  do  not  yet  appear  in  the  great  northwest. 

— The  Congregationalist  and  Christian  World,  Oct.  17th,  1912. 


Free  Synagogue,  New  York. 

Stephen  S.  Wise,  Residence,  23  W.  90th  Street,  Dec.  9,  1912. 
Thomas  B.  Walker,  Esq.,  Minneapolis,  Minn. 

My  Dear  Mr.  Walker:  I write,  for  one  thing,  to  express  to  you  my 
deep-felt  gratitude  for  the  great  joy  which  the  visit  to  your  home  and 
gallery  afforded  me  a few  days  ago.  While  I thank  you,  I feel  that  I should 
congratulate  Minneapolis  upon  having  in  its  citizenship  a man  who  has 
amassed  so  noble  a collection  as  you  have  gathered  from  the  four  corners 
of  the  earth.  It  is  a great  collection,  for  it  is  not  only  representative  of  the 
masters,  but,  as  far  as  I am  able  to  judge,  consists  of  great  examples  of  the 
great  masters. 

Fine  as  is  the  collection,  it  is  not  finer  than  the  spirit  of  its  owner  in 
throwing  open  the  doors  of  his  home  to  the  community  and  the  nation  so 
that  multitudes  may  share  with  him  the  pure — I had  almost  said  holy — joy  of 
possession  of  those  art  treasures.  I shall  avail  myself  of  almosj  any  excuse 
to  go  to  Minneapolis  again  and  bring  Mrs.  Wise,  who  is  herself  a portrait 
painter,  with  me  so  that  we  may  spend  hours  and  hours,  I wish  it  might  be 
days  and  days,  in  your  galleries. 

Hoping  with  all  my  heart  that  you  may  for  many  years  continue  to 
enrich  the  gallery  in  every  way,  and,  chiefest  of  all,  by  your  personal  and 
loving  supervision  of  it,  I am, 

Sincerely  yours, 

(Signed)  STEPHEN  S.  WISE. 


THE  ARTS  CLUB  OF  PHILADELPHIA.. 

April  26,  1912. 

Thomas  B.  Walker,  Esq.,  Minneapolis,  Minn. 

Dear  Sir:  I enclose  an  article  in  “The  Sun”  written  by  James  LIunieker, 

probably  the  best  Art  Critic  in  America — from  it  you  will  see  that  Mr. 
McFadden,  president  of  this  club  and  I saw  your  wonderful  collection  a few 
weeks  ago.  You  were  away  from  home  or  we  would  have  tried  to  see  you. 


IV 


It  is  a wonderful  gathering  of  great  works  by  the  great  men  who  have 
made  art  live. 

Have  you  an  illustrated  catalogue?  If  so  we  would  be  highly  honored 
if  you  would  give  us  one  for  our  library.  We  have  Mr.  Widener’s  and 
others. 

I hope  if  you  come  to  Philadelphia  you  will  stop  at  the  club  and  see  us, 
and  if  you  have  not  seen  the  fine  collections  in  Philadelphia,  would  be 
glad  to  go  with  you. 

Again  congratulating  you  on  your  treasures,  not  only  of  paintings,  but 
also  of  porcelains,  jades  and  rock  crystals. 

I am,  yours  very  truly, 

(Signed)  A.  G.  HETHERINGTON, 
Chairman  Committee  Purchases  of  Art. 


INTERESTING  WORKS  SHOWN  AT  THE  CITY  GALLERIES— NOT- 
ABLE COLLECTION  OF  THOMAS  B.  WALKER  OF  MINNEAPO- 
LIS—GEORGE  MORLAND’S  GREATNESS  AS  A PAINTER  IN  A 
STYLE  WHICH  HE  ALONE  REPRESENTS  IN  BRITISH  ART. 

How  comparatively  unknown  are  the  art  treasures  in  the  private  collec- 
tions of  this  vast  land  may  be  realized  from  the  experience  of  two  well 
known  connoisseurs,  John  H.  McFadden  and  Albert  Hetherington  of  the 
Philadelphia  Art  Club,  who  happened  to  find  themselves  in  Minneapolis* 
Minn.,  a few  weeks  ago.  Among  the  sights  of  the  city  is  the  art  gallery  of 
Thomas  B.  Walker,  a man  of  great  wealth  and  one  who  believes  in  pictures. 
To  the  amazement  of  the  two  Philadelphians,  instead  of  the  usual  local 
gallery  filled  with  copies  or  indifferent  specimens  bearing  great  names  they 
found  a gallery  literally  crammed  with  distinguished  pictures  and  fine  old 
Chinese  porcelains.  The  catalogue  of  the  paintings  numbers  over  300,  among 
which  are  examples  by  Holbein — his  portrait  of  Henry  VIII. — Rembrandt, 
Rubens,  Van  Dyck,  Murillo,  Veronese,  Botticelli,  Raphael — a portrait  of  Pope 
Julius  II.,  from  the  Sir  Cecil  Miles  collection,  indorsed  by  Dr.  Waagen  of 
Berlin;  no  less  than  eleven  Turners  of  quality;  eight  Rembrandts,  one  of 
Saskia;  Ferdinand  Bol,  the  Breughels,  Bouk,  a dozen  Corots,  a Clouet  (Fran- 
cois); Daubigny,  Hobbema,  one  Hals,  Ghirlandaio,  three  Gainsboroughs,  a 
Francia,  Mignard,  Michelangelo,  Millet,  Morland,  Del  Piombo,  the  Poussins, 
Raeburn,  three  by  Sir  Joshua  Reynolds,  Romney,  Rousseau,  Teniers,  Tiepolo, 
Sanchez-Coello,  Vanden  Neer,  Tintoretto,  Richard  Wilson  and  many  others. 
Truly  an  amazing  gathering,  one  that  reflects  high  and  varied  artistic  tastes. 
Yet  how  many  know  of  the  Walker  gallery? 

— New  York  Sun,  April  21,  1912. 

October  9,  1912. 


Mrs.  Stevens,  wife  of  Joseph  E.  Stevens,  Corn  Exchange  Chambers, 
Mark  Lane,  London,  England,  on  a visit  to  the  gallery,  said: 

I am  familiar  with  the  art  galleries  on  the  continent  and  in  England 
for  the  past  twenty-seven  years.  This  is  the  most  beautiful  and  magnificent 
collection  of  art  that  I have  ever  seen.  I am  especially  acquainted  with  the 
Tate  (Tait)  and  the  Wallace  galleries,  and  while  in  the  latter  there  are 
many  magnificent  paintings,  it  does  not  compare  favorably  with  this 
Walker  gallery. 


v 


17  DEAN’S  YARD,  WESTMINSTER  ABBEY,  S.  W. 

October  7th,  1912. 

My  Dear  Mr.  Clarke:  Among  the  many  pleasant  recollections  of  our 

visit  to  Minneapolis,  none  is  more  pleasant  than  that  of  our  time  in  Mr. 
Walker’s  splendid  collection  of  pictures.  To  begin  with,  the  Collection  came 
as  a complete  surprise.  I had  not  associated  Minneapolis  (this  is  a con- 
fession of  ignorance  which  you  will  rather  pity  than  resent),  with  a gallery 
of  masterpieces,  which  would  be  notable  in  any  city  of  Europe.  Then,  there 
were  so  many  pictures  it  is  always  a joy  and  a privilege  to  see — Turners, 
Constables,  Romneys,  all  our  English  masters,  to  say  nothing  of  older  and 
greater  artists. 

I will  not  deny  that  an  element  of  melancholy  entered  my  mind  as  I 
read  the  labels,  which  told  the  story  of  the  pictures,  and  too  often  related 
their  flight  from  England  to  the  far  west.  Surely,  I reflected,  artistic  Ameri- 
cans should  erect  a monument  to  “The  English  Death  Duties”  as  to  the 
kindly  force  which  brings  into  the  markets  of  the  world  so  many  treasures 
of  English  houses.  But  my  melancholy  was  relieved  by  two  considerations. 

If  the  masterpieces  of  art  must  leave  my  own  country,  where  could  I 
wish  them  to  go  to  save  to  that  great  kindred  nation,  which  has  the  same 
mother  tongue,  the  same  faith,  and  the  same  notions  of  justice  and  right 
dealing? 

Again,  if  the  art  treasures  of  the  world  are  to  be  owned  by  individuals, 
could  I desire  that  they  should  be  owned  by  any  other  than  by  those  who 
like  the  owner  of  this  princely  collection,  have  the  generosity  and  public 
spirit  to  make  them  accessible  to  their  neighbors? 

I shall  be  obliged  if  you  will  express  to  Mr.  Walker  our  gratitude  for 
the  delight  which  he  gave  us  through  his  pictures,  and  to  his  son  for  the 
courtesy  with  which  he  showed  them  to  us. 

Believe'  me, 

Most  sincerely  yours, 

H.  HENSLEY  HENSON, 

Sub-dean  of  Westminster  Abbey;  Sometime  Fellow  of  All  Souls  College, 

Oxford. 


E.  J.  VAN  WISSELINGH  & CO.,  KUNSTHANDEL. 

K.  Kroesbeek  78-80  Rokin 

P.  C.  Eilers,  Jr.  Amsterdam 

Windsor  Hotel,  Montreal,  Nov.  25th,  1912. 
Thomas  B.  Walker,  Esq.,  Minneapolis,  Minn. 

Dear  Sir:  The  special  trip  I made  to  Minneapolis  to  see  your  collection, 
of  which  I have  been  told  already  so  much,  even  in  my  small  country, 
enjoyed  me  very  much.  I expected  to  see  some  beautiful  pictures,  but  what 
I saw  went  far  beyond  my  expectations. 

Notwithstanding  I remained  more  than  half  a day,  I saw  not  enough  of  • 
it,  and  at  the  same  time,  too  much  at  once,  to  say  that  I am  fully  acquainted 
with  your  collection,  therefore  I hope  you  will  allow  me  another  call,  com- 
ing in  your  country  again. 

Some  of  your  pictures  will  not  leave  my  mind:  The  Turners  for  in- 

stance. I never  saw  a collection  of  Turners  as  important  as  yours.  “The 
Ancient  City”  can  beat,  to  my  opinion,  the  best  Turner  in  the  World. 

Of  your  Rembrandts,  your  last  acquisitions  of  the  Weber  collection 
was  a revelation  to  me.  The  Ferdinand  Bol,  “Madam  Stercke”  is  still  trav- 


VI 


eling  with  me;  I do  not  remember  a better  example  of  that  master.  The 
Albert  and  Benjamin  Cuyp;  Govert  Flinck’s  “Tambourine  Player,”  The  Con- 
stables; Gainsborough,  especially  the  “Gentleman  in  Blue,”  that  beautiful 
man’s  portrait  by  Raeburn,  beating  the  best  impressionist;  that  lady’s  por- 
trait by  Romney;  Napoleon  by  Isabay;  the  Troyons,  well  no  use  to  men- 
tion all  these  names;  I had  a great  day  at  yours  and  am  much  obliged  to 
you. 

Then  that  important  collection  of  old  Persian  and  Chinese  pottery,  in 
its  kind  as  high  artistic  as  the  best  part  of  your  picture  gallery.  I think 
it  must  be  a great  thing  to  the?  people  of  Minneapolis  and  to  all  who  are 
visiting  your  Museum,  to  have  such  an  Art  School  to  educate  theirself  in 
seeing  the  beauty  of  nature. 

I remain,  dear  sir, 

Yours  gratefully, 

P.  C.  EILERS,  JR., 

Of  Van  Wisselingh  & Co.,  of  Amsterdam. 


CANADIAN  PRAISES  GALLERY— WALKER  ART  COLLECTION 
CALLED  BEST  IN  COUNTRY  BY  TORONTO  BARONET. 

Characterizing  the  T.  B.  Walker  art  collection  as  the  finest  private  col- 
lection he  had  ever  seen  in  his  life,  Sir  Edmund  Walker,  president  of  the 
Canadian  Bank  of  Commerce  of  Toronto,  who  was  in  Minneapolis  yesterday, 
expressed  himself  as  charmed  with  Minneapolis  and  the  treasures  that  are 
on  view  at  Mr.  Walker’s  gallery.  Sir  Edmund  is  not  a relative  of  Mr. 
Walker,  but  he  says  he  has  seen  every  private  collection  of  art  on  both 
sides  of  the  water  that  is  worth  seeing,  and  that  the  Minneapolis  collection 
excels  them  all. 

— Tribune,  Oct.  29,  1912. 


Williamsport,  Pa.,  August  2,  1912. 

Bishop  Evelard  wishes  to  extend  to  Mr.  Walker  somewhat  tardy,  but 
none  the  less  sincere,  thanks  for  the  privilege  that  made  possible  the  many 
happy  and  helpful  hours  spent  with  his  beautiful  paintings.  Few  men  pos- 
sess either  the  means  or  the  taste  to  gather  together  so  many  of  the  best 
things.  Fewer  still  are  generous  enough  to  open  these  to  the  public  so 
every  brother  may  share  with  him  in  the  pleasure  and  inspiration  they  have 
to  give. 


Minneapolis,  Aug.  22,  1912. 

Dear  Mr.  Walker: 

During  my  stay  here  your  collection  of  paintings  has  been  a great  in- 
spiration to  me,  especially  the  large  Rembrandt  “The  Adultress  before 
Christ”  which  I think  is  a most  superb  example  of  the  great  master.  The 
variety  of  handling  and  exquisite  color-glazing,  with  the  grand  style  of  com- 
position, makes  it  the  most  intimate  of  any  of  his  work  that  I have  seen 
here  or  during  my  travels  abroad.  Permit  me  to  congratulate  you.  * * * 
With  hearty  appreciation  of  what  you  have  done  for  American  Art,  I am, 

Most  sincerely  yours, 

(Signed)  DAVID  ERICSON, 

89  South  10th  St,,  Mpls.,  Minn. 


VII 


Hotel  Radisson,  Minneapolis,  Minn.,  Jan.  14,  1913. 

Mr.  T.  T.  A.  W.  Haverstad,  representative  of  the  Thomas  Hospital,  and 
Field  Secretary  of  The  United  Church  Hospital  Association,  and  a news- 
paper correspondent,  particularly  on  art  matters,  writes  a letter  regarding 
the  art  collection. 


Mr.  T.  B.  Walker,  Minneapolis,  Minn. 

My  Dear  Sir:  I have  always  been  deeply  interested  in  the  study  of 

art,  and  I have  had  the  great  privilege  of  visiting  and  studying  the  leading- 
art  galleries  in  Europe.  They  are  great,  but  what  shall  I say  about  this 
collection.  To  say  that  it  is  unique,  superb,  grand,  magnificent  and  excel- 
lent, does  not  fully  express  my  admiration  for  this  most  perfect  art  gallery. 

There  is  such  a grandeur  and  charm  over  the  entire  collection  that 
words  fail  to  express  it.  I wonder  how  many  times  I have  visited  the  col- 
lection and  how  many  friends  I have  brought  there. 

With  highest  of  compliments  and  sincere  good  wishes,  I beg  to  sub- 
scribe myself, 

Very  respectfully, 

(Signed)  T.  T.  A.  W.  HAVERSTAD. 


Mr.  Edward  Brandus,  one  of  the  prominent  art  dealers  of  Paris  and 
New  York,  connected  with  the  art  house  of  Sedlerneyer,  and  the  associate 
of  Dr.  Mersch,  the  son-in-law  of  Mr.  Sedlerneyer,  through  whom  the  last 
important  Rembrandt  was  purchased  by  Mr.  Walker.  In  a letter  just  re- 
ceived from  Mr.  ’Brandus,  he  says: 

New  York  City,  Jan.  22,  1913. 

Mr.  T.  B.  Walker,  Minneapolis,  Minn. 

My  Dear  Mr.  Walker:  I have  read  with  the  greatest  interest  the 

many  testimonies  and  criticisms  and  have  looked  over  the  catalogs  and  de- 
scriptions of  your  collection,  which  was  not  by  any  means  unknown  to  me, 
but  which  I have  deemed  it  advisable  to  mail  to  Mr.  Sedlerneyer  to  give  him 
an  opportunity  to  read  these  intelligent  criticisms  upon  your  great  gallery. 

I am  forwarding  these  to  him  with  the  hope  and  expectation  that  it 
will  contribute  materially  towards  making  known  in  France  and  in  the  whole 
world  that  in  Minneapolis,  the  Walker,  collection  is  second  to  none  in  the 
world. 

(Signed)  EDWARD  BRANDUS. 


By  Miss  Ruby  Danenbaum,  Art  Writer. 

The  length  and  breadth  of  our  land  and  in  foreign  countries  where  art 
has  real  meaning,  the  Walker  collection  represents  two  salient  qualities:  per- 
fection and  generosity.  Perfection  from  the  fact  that  it  is  considered  by 
connoisseurs  to  be  the  most  carefully  selected  collection  of  beautiful  pictures 
in  this  country  or  Europe;  generosity,  because  it  is  housed  in  a private  resi- 
dence and  is  entirely  free  to  the  public  every  week  day  of  the  year.  All  of 
the  great  public  galleries  of  the  country  charge  an  admission  fee  at  least  three 
days  of  the  week,  and  the  great  majority  of  private  galleries  are  not  accessible 
to  the  public. 

Strangers  in  Minneapolis  are  attracted  to  the  grassy  lawn  in  the  heart  of 


vm 


the  business  district,  on  Hennepin  avenue  and  Eighth  street,  with  its  closely 
encircling  park  benches,  occupied  by  weary  humanity  from  early  morning 
until  late  at  night  during  the  summer  months,  and  are  curious  about  the 
house  and  grounds.  When  they  learn  about  the  gallery  and  that  entrance  to 
it  is  as  free  as  the  use  of  the  benches  for  whoever  may  wish  to  rest  upon 
them,  they  lose  no  time  in  taking  advantage  of  the  entrance  privilege.  Any- 
one wishing  to  hear  unbounded  enthusiasm  should  listen  to  the  strangers 
in  the  Walker  gallery — they  are  spontaneous  in  their  praise  of  w7hat  they  look 
upon  as  the  most  magnificent  art  collection  they  have  ever  seen. 

The  Oh’s!  and  Ah’s!  w7hich  expressed  the  delight  of  the  beholder  at  the 
first  glance  into  the  old  gallery  will  now  be  doubled,  for  with  the  opening  of 
the  spacious  new  addition,  the  ensemble  that  meets  the  eye  is  almost  stagger- 
ing in  its  glowing  color — the  glorious  hues  on  the  walls,  the  rich  rugs,  and 
handsome  furnishings  all  combine  to  make  a first  impression  which  remains 
forever  with  the  person  w?ho  sees  it;  that  is  the  person  of  appreciation. 

In  the  new  addition  there  is  a long  gallery  filled  with  fine  canvases,  many 
of  wfinich  are  new.  The  room  just  in  the  rear  contains  a marvelous  collection 
of  rarest  old  porcelains:  Chinese,  Persian,  Corean.  Japanese,  Babylonian, 

Greek,  old  English  Cameo  and  Basalt  ware,  with  finest  sets  of  old  Dutch 
Delf.  The  adjoining  room  is  devoted  to  priceless  old  jade  and  crystal,  said 
to  be  the  finest  collection  of  its  kind  in  the  world.  The  glass  cases  in  the 
next  room  going  forward  are  devoted  to  the  earliest  knowm  specimens  of 
glass,  found  in  Syria,  Egypt,  Persia,  Babylonia.  The  most  beautiful  inlaid 
glass  from  the  old  Egyptian  tombs  dating  2,000  years  B.  C.  and  none  ever 
knowm  like  them  in  later  times,  glass  coins,  some  of  them  used  before  the 
time  of  Christ,  cosmetic  bottles,  water  and  nursing  bottles,  urns,  smelling 
bottles,  vases  and  decorations  and  many  other  beautiful  objects,  dating  from 
the  first  to  the  fourth  century  before  Christ. 

There  is  a collection  of  miniatures  of  famous  men  and  women,  which 
alone  would  require  several  days  to  see,  properly.  Among  the  statesmen, 
writers,  and  notable  men  and  women  of  several  centuries,  the  Minnesotan 
is  pleased  to  find  a miniature  of  Ex-President  Cyrus  Northrop,  painted  by  a 
prominent  New  York  artist  by  the  order  of  Mr.  Walker.  In  this  room,  too, 
there  is  a splendid  collection  of  small  ivory  carvings,  and  several  cases  of 
jade,  crystal,  amber,  agate,  amethyst,  chalcedony  and  other  old  Chinese  snuff 
bottles,  on  which  a day  could  easily  be  spent,  with  much  pleasure  and  profit. 
It  would  be  impossible  to  go  into  detail  concerning  the  contents  of  these 
rooms,  for  there  is  so  much  in  them  which  would  be  of  interest  to  the  student 
of  art  and  the  lover  of  color  and  design. 

Art  students  now  realize  what  an  advantage  it  is  to  be  able  to  study  the 
Old  Masters  at  any  time  they  may  choose,  and  not  be  compelled  to  go  away 
from  home  to  find  such  paintings.  Mr.  Walker  has  some  glorious  Old 
Masters  in  the  Public  Library  Gallery:  A stately  Van  Dyck,  a Rubens,  a 

Murillo,  a Bottecelli,  a Paul  Veronese,  several  canvases  by  Sir  Peter  Lely, 
and  a like  number  of  Sir  Thomas  Lawrence,  among  the  hundred  of  his 
paintings  there. 

It  would  be  impossible  to  mention  all  of  the  pictures  and  objects  of 
art  which  Mr.  Walker  has  so  generously  placed  in  the  Public  Library.  He 
is  constantly  adding  pictures,  objects  of  ethnological  and  anthropological  inter- 
est, making  several  collections  of  which  the  city  may  well  be  proud.  A 
collection  which  Mr.  Walker  has  just  completed  is  the  great  Indian  pictures, 
of  which  there  are  seventy,  by  H.  H.  Cross.  This  is  probably  the  greatest 
collection  of  Indian  portraits  in  the  world. 


IX 


“This  is  the  unique  gallery  of  all  that  I have  seen.  Every  picture  on 
these  walls  is  genuine  and  of  the  highest  order  of  merit.  In  most  all  col- 
lections the  larger  part  of  the  pictures  are  commonplace,  mediocre  or  unin- 
teresting, and  amongst  them  many  that  are  not  genuine.  All  of  these  are 
most  satisfactory  examples  and  worthy  of  a place  on  the  walls  of  any  gal- 
lery.” 

JOSEPH  JEFFERSON. 


“I  have  made  art  a special  study  and  have  taken  great  interest  in  it  to 
that  extent  that  I have  made  it  a specialty  on  which  I have  delivered  many 
lectures.  I have  seen  the  public  galleries  of  Europe  and  America  and  many 
of  the  private  ones,  and  I do  not  know  of  a collection  where  there  is  such 
a uniformity  of  high  class  art  in  any  gallery  that  I have  ever  seen.  There 
are  no  commonplace,  uninteresting  pictures,  but  all  are  beautiful  and  attract- 
ive and  genuine  examples  of  high  grade  art  of  many  of  the  fine  painters  of 
the  world.” 

DR.  B.  D.  HOLLINGTON,  Pastor, 

Central  Methodist  Episcopal  Church,  Toledo,  O. 


“The  writer  of  this  note  has  seen  and  studied  the  best  galleries  of  the 
world;  and  he  has  no  hesitancy  in  affirming  that  none  surpass  this,  and,  in 
his  judgment,  very  few  can  in  any  way  approximate  it.” 

REV.  FAYETTE  L.  THOMPSON, 

Pastor  Hennepin  Avenue  Methodist  Church, 

Minneapolis,  Minn. 


“In  the  name  of  myself  and  of  the  public,  I thank  him  who  daily  gives 
to  the  world  such  a wonderful  and  uplifting  opportunity.  This  I wish  to  say 
because  I sincerely  feel  it.” 

CORA  R.  GIBSON,  Art  Writer, 

St.  Louis,  Mo. 

“If  you  can,  meet  the  man  who  has  collected  this  great  gallery,  great 
because  it  represents  almost  every  school,  and  there  is  not  in  it  all  one  spu- 
rious picture  or  one  poor  picture.  Bonds  and  buildings,  forests  and  mills, 
this  is  the  game  that  he  plays,  but  he  plays  it  as  a Christian  gentleman 
should.  Libraries,  hospitals  and  churches,  these  are  his  duty  to  humanity. 
But  this  beautifully  brilliant  gallery,  this  is  his  love. 

“ ‘A  Christian  gentleman,  and  spend  such  a fortune  on  his  own  luxurious 
enjoyment?’  you  ask.  Yes,  a Christian  gentleman,  for  he  only  gets  that  he 
may  give.  He  gave  all  his  pictures  to  me.  Half  way  across  Lake  Superior 
in  a fog  I close  my  eyes  in  my  cabin  and  I am  back  again  with  them  all 
before  my  soul.  I thank  him  for  making  the  collection,  but  the  pictures  are 
always  forever  mine.  ‘When  a person  becomes  a part  of  you,  then  you 
love,’  says  Hugo.  When  you  have  really  seen  a picture  it  becomes  a part 
of  you.  He  gives  this  collection  daily  to  his  own  city,  and  all  day  long  men 
and  women  are  accepting  his  free  gift.  Two  hours  I spent  with  a man  in 
a blue  blouse  of  a mechanic,  but  no  refinement  of  color  or  form  escaped 
his  apprehension  and  appreciation,  and  turning  at  the  door  he  feelingly  said, 


x 


‘But  the  best  thing  about  this  is  that  this  fellow  don’t  keep  this  all  to  him- 
self, but  lets  us  all  own  it.’ 

“When  you  go  to  Minneapolis,  and  it  would  pay  you  to  go  even  for 
this  one  thing,  forget  not  to  see  this  beautiful  palace  of  art.” 

REV.  B.  D.  HOLLINGTON,  Art  Writer, 

Toledo,  Ohio. 

“Mr.  T.  B.  Walker,  Minneapolis,  Minn. 

“My  Dear  Sir:  Last  year  I made  a special  trip  to  Minneapolis  for  the 

purpose  of  seeing  your  collection  of  paintings.  I had  heard  them  so  highly 
spoken  of  by  many  different  persons  who  had  visited  your  gallery  that  I 
deemed  it  worthy  of  a trip  for  the  express  purpose  of  carefully  examining 
the  collection.  I must  say  that  while  I expected  from  the  reports  of  others  to 
find  a fine  collection,  I was  greatly  surprised  to  find  it  the  most  uniformly 
beautiful  and  attractive  that  I have  ever  seen. 

“I  have  made  art  a business  and  study  for  many  years,  have  visited  public 
and  private  collections  in  this  country  and  in  Europe,  and,  so  far  as  I can 
make  a general  comparison,  I believe  that  no  other  gallery,  either  public  or 
private,  that  I have  ever  seen,  contains  so  uniformly  a high,  attractive  and 
beautiful  array  of  pictures  as  I found  in  your  gallery.  I was  more  than  sur- 
prised and  put  in  nearly  the  whole  day  in  a most  interested  examination  and 
view  of  the  paintings. 

“The  perfect  freedom  with  which  people  are  admitted  without  limitations 
or  restrictions  is  different  from  any  other  art  gallery  regulations  that  I have 
ever  known.  I would  congratulate  your  city,  and  the  public  generally,  for 
this  most  attractive  exhibition  which  you  seem  to  have  established  more  in 
the  interests  of  the  public  than  for  any  personal  use  or  interest.” 

Sincerely  yours, 

HENRY  REINHARDT, 

Art  Dealer,  Auditorium  Annex.  Chicago,  111. 


Review  of  art  gallery  by  Mr.  Blair  Hough,  Art  Critic,  of  New  York  City, 
published  in  New  York,  Chicago,  St.  Louis,  Minneapolis,  and  other  papers. 
May,  1907: 

“Mr.  T.  B.  Walker  owns  a collection  of  rare  and  costly  paintings  from 
the  hands  of  the  world’s  masters,  covering  the  last  five  hundred  years,  and 
has  generously  opened  the  great  gallery  to  the  public.  Any  one  is  at  liberty 
to  call  at  the  Walker  residence  and  view  the  paintings  and  other  art  treasures 
it  contains.  The  famous  art  galleries  of  Europe  have  been  searched  and  their 
choicest  treasures  purchased.  Artists’  studios  have  been  explored,  and  with 
the  eye  of  a connoisseur,  Mr.  Walker  selected  bits  of  canvas  that  have  made 
their  painters  renowned.  Every  master  of  note  since  the  fourteenth  century 
has  contributed  to  his  treasure  house  of  art. 

“Raphael,  Rubens  and  Rembrandt,  whose  work  has  astonished  the  world 
for  centuries,  are  liberally  represented.  Holbein’s  portrait  of  King  Henry 
VIII,  immortalized  by  Shakespeare,  and  Myten’s  King  Charles  I,  martyred 
by  Oliver  Cromwell,  with  all  their  associations  of  English  history,  look  down 
from  the  walls.” 

Guido  Reni’s  Cleopatra,  Egypt’s  only  queen,  and  Marc  Antony’s  siren, 
in  her  last  hour,  many  decades  old;  Laurens’  Lucretia  Borgia,  the  cruel  light 
of  whose  eyes  makes  one  shiver;  the  younger  Pourbens’  Maria  De  Medici, 


xi 


her  beautiful  face  wonderfully  lighted  in  a smile;  Sir  Godfrey  Kneller’s  Nell 
Gwyn,  whose  sweet  face  and  sparkling  eyes  captivated  and  bewitched  a mon- 
arch’s court,  all  recall  romance  and  intrigue  of  centuries  long  dead. 

Guardi  and  Unterberger  transport  you  to  peaceful  Venice  with  her  slug- 
gish canals,  lazy  gondolas,  love-smitten  swains  and  coquettish  maidens.  Es- 
selenns  and  Ziem  portray  street  scenes  of  far-off  lands  in  the  long  ago. 
Rousseau’s  Sunset  is  a striking  bit  of  color.  Bierstadt,  Frangais,  Berchem 
and  Mendert  offer  landscapes  and  pastorals  celebrated  for  their  technique. 
Corot’s  “Aurora  Greeting  the  Dawn”  is  a fine  conception  of  an  artist’s  dream. 
Berchem’s  “Waterfall”  is  so  realistic  that  one  is  deluded  into  hearing  the 
water  leap  over  the  great  rocks.  Turner’s  “Tower  of  London,”  somber  and 
gray,  recalls  the  days  of  guillotines  and  garrotes  and  stocks. 

The  world  famous  Ruben’s  Madonna,  sorrowful  eyes  lighted  by  heaven’s 
love,  gazes  compassionately  downward.  Dolci’s  Christ  Child,  Maratta’s  Visit 
of  the  Wise  Men,  Madonnas  by  Van  Dyke  and  Canos  and  Cipriani’s  Virgin 
inspire  higher  thoughts  and  create  better  impulses. 

There  are  almost  priceless  portraits  of  men  and  women  famous  in  the 
world’s  history  by  Piombo,  Sir  Thomas  Lawrence,  Bol,  Isabey,  Sir  Joshua 
Reynolds,  Gros,  Mignard,  Cotes,  Janssens,  Hogarth,  Flinck  and  others  of  less 
renown. 

Mr.  Walker  is  also  a liberal  patron  of  American  art,  and  much  of  the 
best  work  of  these  artists  has  found  its  way  into  his  galleries. 

The  gallery  is  elegantly  appointed  and  adjoins  his  residence  on  Hennepin 
avenue.  His  magnanimity  in  opening  this  to  the  public  is  almost  without 
parallel  and  is  praised  by  visitors  and  the  people  of  Minneapolis  alike. 


Mr.  N.  E.  McBride,  Annex  Hotel,  Chicago,  says: 

“I  have  seen  many  of  the  finest  art  collections  in  Europe  and  America 
and  I consider  this  the  finest  collection  that  I have  ever  seen.  It  is  much 
larger  and  finer  than  the  Wallace  collection  and  more  uniformly  magnificent 
than  the  National  Gallery,  or  the  Tate  Gallery.  The  Turners  in  this  col- 
lection are  finer  than  in  any  collection  I have  ever  seen,  as  are  also  the  Rem- 
brandts and  the  Van  Dycks.  Every  picture  in  this  gallery  seems  to  be  of  the 
highest  grade  of  art  without  any  commonplace  pictures  to  be  found  in  it.” 

Mr.  J.  B.  Eaton,  of  Buerton  House,  Montgomery  Road,  Sheffield,  Eng., 
and  his  traveling  companion  Rev.  George  H.  McNeal,  Sheffield,  Wesleyan 
Mission,  25  Montgomery  Road,  Sheffield,  Eng.,  visited  the  gallery.  Mr. 
Eaton  said: 

“We  have  been  for  a long  time  looking  over  the  art  and  other  interesting 
things  in  Europe  and  America.  We  began  by  first  traveling  over  England 
and  particularly  examining  the  art  galleries,  public  and  private.  We  then 
went  to  the  continent,  visiting  the  principal  nations  there,  and  then  came  to 
America.  We  have  visited  the  different  towns  and  cities  from  New  York  and 
Boston  to  the  Pacific  Coast,  and  from  Los  Angeles  and  Seattle  back  here, 
and  have  stopped  here  expressly  to  see  this  collection.  I wish  to  say  to  you 
that  we  would  rather  have  missed  anything  we  have  seen,  in  all  our  travels, 
without  exception,  than  to  have  missed  this  most  magnificent  collection  of 
art.  We  look  upon  it  as  emphatically  the  finest  collection  that  we  have  seen 
in  our  travels.  Your  collection  of  Turners  is  not  equalled,  and  taking  the 
Rembrandts,  the  Van  Dycks,  the  Claude  Lorraines,  and  especially  also  the 
Constables  and  the  great  number  of  the  finest  of  the  artists’  works,  I con- 
sider it  the  finest  collection  that  we  have  seen.  The  collection  of  porcelains, 


XII 


jades,  miniatures  and  rugs,  all  correspond  and  combine  in  making  this  a 
most  uniformly  magnificent  collection.  Rev.  McNeal  fully  agreed  as  to  the 
judgment  expressed  by  Mr.  Eaton.” 


David  Starr  Jordan,  president  of  Leland  Stanford  University,  made  the 
following  emphatic  statement: 

“I  do  not  profess  to  be  an  art  critic,  but  I have  seen  miles  of  pictures  in 
my  time,  at  home  and  abroad,  in  public  and  private  collections,  but  of  all  the 
galleries  that  I have  ever  seen,  without  exception,  a large  part  of  all  the 
paintings  should  be  turned  face  to  the  wall. 

“I  have  examined  fully  every  picture  in  this  collection,  and  there  is  not 
one  that  needs  disturbing,  and  it  is  the  only  gallery  of  the  kind  that  I have 
ever  seen,  and  stands  the  highest  as  a collection  of  art.” 


Detroit,  Michigan,  Oct.  12,  1910. 

“I  had  the  pleasure  of  visiting  your  galleries  last  week,  and  I was  aston- 
ished at  the  collection  you  have  brought  together.  Permit  me  to  thank  you 
for  the  pleasure  you  have  given  me.”  A.  E.  DREYER,  M.  D. 

“Art  treasures  from  the  oldest  centers  of  the  world’s  civilization,  have 
been  secured.  In  the  selection  of  paintings,  he  has  been  guided  by  an  un- 
erring judgment  of  the  value  of  the  work  of  artists.  He  has  not  bought  in- 
discriminately of  the  works  of  modern  or  of  old  masters.  Each  picture  in  his 
collection  stands  on  its  merits  as  a picture.  His  selections  cover  the  history 
of  art  during  the  past  five  centuries,  and  none  of  them  are  mediocre.  Each 
canvas,  whether  produced  by  artists  of  the  olden  times,  or  by  modern  paint- 
ers, is  a gem.  These  facts  are  the  general  testimony  of  the  best  art  judges 
from  all  parts  of  the  world.”  — San  Francisco  Chronicle,  Oct.  17,  1909. 


Mr.  Hendrik  Christian  Andersen,  of  Paris,  a sculptor  and  quite  noted 
architect  and  a most  prominent  citizen,  who  has  been  engaged  for  fifteen 
years  with  a large  corps  of  assistants  in  planning  a most  comprehensive 
world  exhibition,  was  traveling  over  this  country  and  on  his  way  to  Cali- 
fornia stopped  in  Minneapolis  to  see  this  collection,  which  he  had  heard 
highly  spoken  of. 

He  said:  I have  seen  and  am  familiar  with  the  art  galleries  of  the  world. 
I am  far  more  than  surprised,  really  astonished  to  find  such  an  extraordinary 
exhibition  of  art.  I regard  this  the  most  uniformly  fine  collection  I 
have  ever  seen  without  exception. 


“I  have  seen  many  of  the  finest  art  galleries  and  collections  of  art  in 
this  country  and  Europe,  but  not  one  of  them  compares  with  this  one  in  mag- 
nificence and  beauty  of  all  the  objects  in  it.  I do  not  know  a single  one 
that,  taken  all  together,  stands  in  the  same  class  with  it.” 

JOSEPH  CHAPPLE, 

Proprietor  and  Chief  Editorial  Writer  National  Magazine, 

Boston,  Massachusetts. 


XIII 


Mason  City,  Iowa,  Nov.  15,  1911. 


Mr.  T.  B.  Walker,  Minneapolis,  Minn. 

Dear  Sir:  I was  the  man  in  the  group,  to  whom  you  so  entertainingly 
discussed  vases,  porcelain  ware,  and  other  matters  of  keen  interest  artisti- 
cally on  last  Saturday  afternoon. 

I couldn’t  feel  content  to  leave  your  extreme  courtesy  unmentioned.  I 
was  almost  incredulous  on  my  first  visit  to  your  gallery — hushed  into  rever- 
ence by  the  beauty  and  subdued  luxury  all  about  me.  I never  was  in  a place 
before,  where  there  was  such  absolute  lack  of  the  discordant,  and  where 
taste  had  been  the  supreme  arbiter  of  all  about.  To  be  admitted  there  was 
a high  privilege,  and  to  converse  with  the  man  who  had  been  the  collector 
artist,  was  an  added  privilege  much  appreciated. 

This  was  my  first  visit  to  Minneapolis,  and  the  two  afternoons  spent  in 
the  gallery  (out  of  a total  of  three  days  in  the  city),  served  only  to  make 
me  deeply  reluctant  to  leave,  and  keenly  anxious  to  return,  when  I could 
dream  over  that  high  art  as  long  as  I might  wish. 

Excuse  me  for  presuming  to  write  so  without  acquaintance,  but  I felt 
that  I must  unburden  myself  of  a little  of  my  gratitude. 

Yours  gratefully, 

J.  CLYDE  MURLEY, 

Latin  and  Roman  History, 
Mason  City  High  School. 


(Extract  from  Harshe’s  letter  of  June  17th,  1911.) 

Professor  Harshe,  of  the  art  department  of  the  Leland  Stanford  Uni- 
versity of  California,  who  has  been  secured  by  the  exposition  directors  to 
look  after  art  matters  for  the  coming  Panama-Pacific  Exposition,  in  a letter 
of  June  17,  1911,  says: 

“A  month’s  time  is  all  too  short  in  which  to  study  your  collection  of 
masterpieces.  It  was  a matter  of  the  keenest  disappointment  to  me  that 
an  engagement  at  Missouri  “U”  commencement  compelled  me  to  cut  short 
a visit  where  every  moment  was  so  filled  with  wonder  and  delight.  I can- 
not understand  how  one  man  could  have  made  a collection  of  such  excellence 
and  such  uniform  importance.” 


Mr.  P.  E.  Kaiser,  Secretary  of  the  St.  Cloud  Board  of  Education  and 
Secretary  of  the  Northwestern  Publishing  Company  of  that  city,  after  spend- 
ing several  hours  in  the  galleries,  said  that  he  had  visited  the  galleries  of 
the  Louvre,  the  Vatican,  Dresden  and  Berlin,  and  that  he  considered  this  the 
finest  collection  he  had  ever  seen. 


”1  have  often  heard  of  this  gallery  as  a fine  collection,  and  I have  come 
here  for  the  purpose  of  seeing  it,  but  I did  not  expect  to  find  anything  like 
the  extraordinarily  fine  display  of  art  that  I find  in  these  galleries.  I have 
seen  many  of  the  fine  art  galleries  of  the  world  and  this  is  the  most  mag- 
nificent collection  that  I have  ever  seen.” 

MRS.  JEROME  CHRISTIE, 
Quincy,  Illinois. 


XIY 


Biological  Labratory,  Hamline  University, 

, St.  Paul,  Minn.,  April  12,  1911. 

“I  can  not  refrain  from  telling  you  again  how  glad  I am  that  we  have  so 
accessible,  such  a very  wide  range  of  artists,  and  such  good  examples  of  their 
work.  The  opportunity  is  highly  appreciated  I am  sure,  for  always  on  visit- 
ing the  gallery  I find  others  there  enjoying  the  pictures.” 

HENRY  L.  OSBORNE. 


Wm.  E.  Curtis,  the  noted  newspaper  writer  and  art  critic,  on  a visit  to 
the  gallery  September  4,  1911,  after  going  through  the  different  rooms  look- 
ing over  the  collections  with  very  great  interest,  said  that  it  was  the  most 
surprising  and  bewildering  exhibition  of  art  that  he  had  ever  seen.  That 
while  many  of  the  great  galleries  of  the  world  had  priceless  pictures  and  far 
greater  numbers,  that  no  collection  that  he  had  ever  seen  had  so  uniformly 
and  exceptionally  magnificent  examples  of  the  greatest  paintings,  nor  such 
beautiful  and  dazzling  collections  of  porcelains,  jades,  ancient  glass  crystals, 
etc.  And  he  wanted  to  know  if  other  people  expressed  such  extravagant 
views  of  the  collection.  In  an  article  written  just  before  his  death,  after  he 
had  waited  some  time  for  additional  lists  and  descriptions  of  the  pictures 
that  were  not  in  the  old  catalogue  that  was  given  him,  he  wrote  largely  from 
memory  an  article  published  in  many  papers,  of  which  the  following  extracts 
are  taken: 

WALKER  GALLERY  AT  MINNEAPOLIS  ONE  OF  GREATEST  ART 
COLLECTIONS  IN  THE  WORLD. 

T.  B.  Walker,  one  of  the  wealthiest  lumbermen  in  the  United  States,  has 
a large  gallery  attached  to  his  residence,  803  Hennepin  Avenue,  Minneapolis. 
In  that,  250  or  more  examples  of  mediaeval  and  modern  painters  have  been 
hanging  for  some  years  in  association  with  one  of  the  largest  and  most  valu- 
able collections  of  porcelains  and  glass,  jade,  jewels  and  examples  of  carving 
and  the  goldsmiths’  art. 

Mr.  Walker  is  public  spirited  and  generous  in  sharing  the  enjoyment  of 
these  possessions  with  the  public.  Anyone,  citizen  or  stranger,  is  at  liberty 
to  call  at  his  residence  on  any  week  day,  morning  and  afternoon,  and  inspect 
the  gallery  at  leisure,  and  thus  far  this  year  more  than  65,000  persons  have 
taken  advantage  of  the  privilege. 

The  rooms  are  so  crowded,  however,  that  there  is  not  an  inch  of  spare 
space  upon  the  walls,  and  you  have  to  squeeze  between  tall  cases  of  matchless 
curios,  as  rare  and  as  valuable  as  can  be  found  in  the  Metropolitan  Museum 
at  New  York  or  at  the  Kensington  in  London.  It  is  one  of  the  great  private 
collections  of  the  world,  and  has  been  assembled  by  Mr.  Walker  personally 
during  the  last  twenty-five  years. 

Mr.  Walker,  as  I have  said,  is  a lumberman.  He  came  to  Minneapolis 
from  Xenia,  Ohio,  as  a surveyor  in  early  days,  bought  timber  lands  and  set 
up  a saw  mill;  then  he  bought  more  timber  lands  and  set  up  more  saw  mills, 
and  he  continued  to  buy  land  and  to  saw  and  to  ship  lumber  until  he  became 
one  of  the  richest  men  in  the  West,  and  has  kept  adding  to  his  holdings  until 
he  now  owns  an  area  of  forest,  East  and  West,  North  and  South,  as  large  as 
some  of  the  kingdoms  of  Europe.  He  has  reached  a point  where  he  realizes 
that  money  has  values  that  most  men  have  never  dreamed  of,  and  that  the 


XY 


greatest  satisfaction  to  be  enjoyed  by  a man  of  taste  and  culture  is  to  sur- 
round himself  with  things  of  beauty. 

The  Walker  gallery  is  a surprise  to  everybody  who  comes  here,  because 
it  has  not  been  advertised  and  few  people  know  anything  about  it.  And 
indeed,  skeptics  can  be  excused  for  incredulity  when  you  tell  them  that  sam- 
ples of  Raphael,  Michelangelo,  Rubens,  Carlo  Dolci,  Murillo,  three  of  Van 
Dycks,  three  of  Rembrandt’s,  six  of  Turner’s,  four  portraits  by  Sir  Joshua 
Reynolds  and  portraits  by  Gainsborough,  Hogarth,  Holbein  and  other  equally 
great  artists  are  hanging  on  the  walls  of  a Minneapolis  house. 

The  three  examples  of  Rembrandt  are:  One  of  the  many  portraits  which 
he  painted  of  himself,  the  portrait  of  the  wife  of  some  Dutch  merchant  or 
alderman — a plain  wholesome  woman  of  his  time — and  a burgomaster  with 
a reddish  beard  from  the  collection  of  Jacob  Anthony  Van  Damm,  of  Dor- 
trecht,  which  the  catalogue  says,  “is  the  great  master’s  most  attractive  style.” 
It  would  be  difficult  to  find  among  all  his  works  a more  beautiful  portrait,  and 
it  is  considered  one  of  the  most  characteristic  in  softness  and  refinement  of 
tone. 

The  largest  collection  of  Turners  that  can  be  found  outside  of  a public 
museum  is  said  to  be  here,  and  includes  six  characteristic  works  of  that  great 
artist,  who,  experts  say,  is  the  most  difficult  to  copy  of  any  man  that  ever 
wielded  a brush. 

A portrait  that  has  greater  interest  to  Americans  is  of  Benjamin  Franklin, 
made  in  1775  by  Jean  Baptiste  Greuze,  in  Paris,  where  Franklin  was  agent  of 
the  American  colonies.  It  was  presented  by  Franklin  to  Archibald  Hamilton 
Rowen  and  passed  through  the  hands  of  several  other  owners  before  it 
reached  Mr.  Walker’s  gallery. 

William  Dobson,  who,  in  1641,  succeeded  Van  Dyck  as  court  painter  of 
England  during  the  reigns  of  Charles  I and  Charles  II,  is  represented  by 
three  fine  examples. 

The  four  portraits  by  Sir  Joshua  Reynolds  are  all  characteristic.  One  of 
them,  which  has  been  pronounced  the  finest  portrait  in  America,  is  an  exqui- 
site picture  of  the  wife  of  Edmund  Burke,  the  great  Irish  patriot  and  advocate. 

The  collection  of  porcelains  and  curios  from  the  near  and  far  East  is  so 
large  and  splendid  that  it  cannot  be  adequately  described  in  a newspaper  let- 
ter, and  I have  overlooked  many  fine  paintings;  but  enough  has  been  said  to 
justify  the  pride  the  people  of  Minneapolis  feel  in  this  gallery. 

Villeneuve  Sur  Lot,  September  11,  1911. 

“I  thank  you  cordially  for  the  catalogues  which  you  sent  me.  It  must 
certainly  be  a grand  and  interesting  gallery.  Many  thanks  also  for  the  cata- 
logue of  Indians.  It  will  be  with  a great  deal  of  pleasure  that  I will  receive 
the  complete  collection  catalogue,  for  I think  it  is  one  of  the  most  interesting 
things  I have  seen  for  many  days.  Thanking  you  again  for  your  kindness, 
X remain, 

Most  cordially  yours, 

ANDRE  CROCHEPIERE. 

(Mr.  Crochepiere  is  the  artist  who  painted  the  “Peasant  Woman  at 
Prayer,”  which  hangs  in  the  collection.) 

Allan  D.  Albert,  Chief  Editor,  Minneapolis  Tribune,  in  an  address  at  the 
Lake  Harriet  Commercial  Club  on  the  evening  of  December  5th,  is  reported 
in  the  next  morning’s  paper  as  saying: 

“I  came  to  Minneapolis  ignorant  of  the  fact  that  the  city  had  an  art 


XVI 


awakening  and  as  soon  as  I reached  here  I became  keenly  aware  of  an  art 
spirit.  You  have  a private  collection  in  Minneapolis  which  is  without  a 
peer  in  the  United  States.  When  I learned  that,  it  was  very  much  of  a 
surprise.”  Mr.  Albert  referred  to  the  T.  B.  Walker  collection. 


Senator  J.  T.  Wyman,  of  Minneapolis,  gave  the  following  expression 
as  to  his  appreciation  of  the  gallery: 

“Last  year  on  a European  trip,  I saw  various  collections  and  had  occa- 
sion to  remain  in  Paris  for  several  weeks,  and  I spent  a good  share  of  my 
time  viewing  the  collection  in  the  Louvre;  and  while  it  was  a very  great  and 
comprehensive  exhibition  of  Art,  containing  many  great  examples,  yet  neither 
that  collection  nor  any  other  that  I have  seen,  compared  favorably  with 
this  one,  as  a beautiful  and  magnificent  exhibition  of  paintings,  porcelain, 
and  other  objects  of  art.” 


xvit 


. - ( 

BEECHEY  (Sir  William). 

Born  at  Burford,  Oxfordshire,  Dec.  12,  1753,  died  at  Hampstead,  Jan.  28,  1839. 

‘‘Admitted  a student  of  the  Royal  Academy,  London,  in  1772,  and  after 
painting  portraits  and  pictures  in  Hogarth’s  manner  several  years  in  Nor- 
wich, returned  to  London,  where  he  long  enjoyed  uninterrupted  favor  with 
the  fashionable  world.  In  1793  he  painted  a portrait  of  Queen  Charlotte 
and  was  appointed  by  her  royal  portrait  painter,  and  became  an  A.  R.  A.” 

— Cyclopedia  of  Painters  and  Paintings. 

“He  was  very  celebrated  in  his  time  as  a portrait  painter.  His  picture 
of  George  III  at  a Review,  now  at  Hampton  Court,  gained  him  the  honor 
of  knighthood  and  the  Royal  Academicianship.” 

— D’ Anvers’  Elementary  History  of  Art. 

“This  artist  was  articled  to  a solicitor  at  Stowe,  in  Gloucestershire,  and 
transferred  to  the  office  of  another  lawyer  in  London.  There  having  made 
the  acquaintance  of  some  artists,  he  prevailed  upon  his  master  to  release 
him,  and  was  admitted  a student  of  the  Academy  in  1772. 

“Beechey  excelled  in  producing  a striking  likeness.  Considered,  how- 
ever, as  pictures,  they  have  not  the  solidity  of  Reynolds,  but — perhaps  from 
their  being  painted  with  less  body  of  color — they  have  stood  better  than  his; 
otherwise  they  are  executed  very  much  in  the  manner  of  his  great  prede- 
cessor.” 

— Jaynes’s  Painters  and  Their  Works. 

“Little  of  the  ideal  appears  in  his  compositions;  he  seized  on  his  por- 
traits with  a vigorous,  rather  than  a delicate  hand;  neither  did  he  succeed  in 
summoning  mind  to  the  brow  or  elegance  to  the  air  of  his  heads.” 

— Pilkington’s  Dictionary  of  Painters. 

“Enjoying  the  favor  of  the  Court,  fashion  followed  him,  and  many  of 
the  most  distinguished  of  his  day  were  among  his  sitters.  In  his  early  career 
he  had  painted  some  subject  pictures,  but  his  art  was  essentially  portrait. 
His  chief  merit  was  the  accuracy  of  his  likenesses.  His  coloring  was  d’eli- 
cate  and  sweet,  particularly  in  his  female  portraits.” 

— Redgrave’s  Dictionary  of  the  Artists  of  the  English  School. 

“His  portraits  are  almost  numberless,  many  of  which  are  of  a very 
high  class  of  excellence.  Those  of  the  King,  Prince  of  Wales,  and  Duke  of 
York,  evince  a power  of  handling  and  breadth  of  effect,  as  well  as  an  accu- 
racy of  resemblance,  which  deserve  great  praise.  In  his  portraits  of  men,  he 
seems  to  have  been  deeply  imbued  with  a command  of  character  and  expres- 
sion; and  in  those  of  ladies,  grace  and  beauty  are  ever  pervading.” 

— Spooner’s  History  of  the  Fine  Arts. 

“His  portraits  are  characterized  by  easy  attitude  and  naturalness  of  ex- 
pression and  some  of  them  are  of  great  excellence.” 

— Shedd’s  Famous  Painters  and  Paintings. 


20 


T.  B.  WALKER  COLLECTION. 


No.  1 — “Portrait  of  George  The  Fourth,  King  of  England/’ 

25x30 

From  the  collection  of  Sir  Robert  Peel. 

George  the  Fourth  was  born  1762,  died  1830.  Was  fine  looking  in  his 
early  years,  but  profligacy  and  a licentious  life  gave  him  an  undesirable  ap- 
pearance and  a character  worse  than  his  looks.  A man  without  any  redeem- 
ing traits  of  character.  An  admirable  and  strong  reproduction  of  a profligate 
king. 


BERCHEM  (Nicholas). 

Born  at  Harlem,  1624. 

Died  in  Amsterdam,  1689. 

Dutch  school;  landscape,  animal,  history  and  portrait  painter. 

Pupil  of  Grebber,  Van  Goyen,  Mogaart,  Jan  Wils  and  Weenix. 

“He  had  an  easy,  expeditious  manner  of  painting,  and  an  inexpressible 
variety  and  beauty  in  the  choice  of  sites  for  his  landscapes;  executing  them 
with  a surprising  degree  of  neatness  and  truth;  he  gave  to  every  subject  as 
much  beauty  and  elegance  as  it  would  admit.  The  leafing  of  his  trees  is  ex- 
quisitely and  freely  touched;  his  skies  are  clear;  his  clouds  float  lightly,  as  if 
supported  by  air.  The  distinguishing  characteristics  of  his  pictures  are  the 
breadth  and  just  distribution  of  the  lights;  the  grandeur  of  his  masses  of 
light  and  shadow;  a natural  ease  and  simplicity  in  the  attitudes  of  his  fig- 
ures, expressing  their  several  characters;  the  brilliancy  and  harmony,  as  well 
as  the  transparence,  of  his  coloring;  the  correctness  and  true  perspective  of 
his  design;  and  the  elegance  of  his  composition. ” 

— Pilkington’s  Dictionary  of  Painters. 

“Berchem,  as  a painter,  surpassed  all  the  masters  he  worked  under  in 
Holland.  Painting  seemed  only  a pastime  to  him;  it  was  while  laughing  and 
singing  that  he  painted  his  best  works.  His  pictures  were  often  paid  for 
before  they  were  begun,  and  his  industry  was  equal  to  the  rapidity  and 
variety  of  his  conceptions  and  executions.”  — Painters  and  Their  Works. 


No.  2 — “Scene  in  Holland.” 

31x41. 

From  Ruston  Hall  Collection,  Northamptonshire. 

’Tis  said  of  this  artist,  that  his  best  work  was  done  while  laughing  and 
singing,  and  in  this  magnificent  painting,  all  nature  seems  laughing  and  sing- 
ing with  him. 

On  the  right  is  seen  two  grand  old  oaks,  while  just  beyond  are  the  lazy 
sheep  and  the  quaint  old  church.  On  the  left  and  center  of  the  picture  is 
a small  pond,  almost  hidden  by  the  deep  foliage  of  neighboring  trees,  and 
a hunter,  crouched  at  the  foot  of  the  large  oak,  is  carefully  aiming  his  gun 
at  a wild  fowl  sporting  on  the  water. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


21 


The  clouds  are  more  fleecy  and  buoyant,  and  the  distribution  of  lights 
and  shadows  more  harmonious  and  natural,  than  is  often  attained  by  any 
other  painter. 

Let  us  hope  that  the  huntsman’s  aim  is  faulty;  that  the  wild  fowl  may 
fly  away  to  enjoy  with  us  “God’s  outdoors,”  which  is  so  vividly  portrayed 
by  this  remarkable  picture. 


No.  3— “A  Waterfall.” 

33^x34. 

From  collections  of  Hon.  Toredene  Townsen,  Honniston  Hall,  Shipton  on 

Stour. 

High  up  on  a rocky  promontory  stand  the  vine-clad  ruins  of  some  old 
castle,  while  a modest  little  dwelling  stands  just  beyond  in  the  shadow  of 
the  cliffs.  On  either  side  of  these  a divided  mountain  stream  comes  dashing 
down  its  precipitous  course,  over  craggy  rocks,  hurrying,  eddying,  foaming, 
on  its  way  to  the  sea.  Some  shepherds  with  their  flocks  are  resting  on  the 
banks  of  the  stream,  which  gives  still  further  life  to  a very  beautiful  and 
richly  colored  landscape  that  is  hardly  equaled  by  any  of  the  great  masters. 

BENSON  (Ambrosius). 

Flemish  School. 

Flourished  about  the  beginning  of  the  Sixteenth  century.  He  was  a 
portrait  painter  of  the  first  rank,  but  having  the  misfortune  not  to  be  em- 
ployed as  court  painter,  is  not  so  well  known  as  other  artists  of  that  period 
whose  works  were  much  inferior  to  that  of  Benson.  His  work,  and  espe- 
cially his  flesh  tints,  have  a refreshing  naturalness  seldom  equaled  by  any 
master  either  before  or  since  the  period  in  which  he  lived. 

No.  4 — “Young  Lady  Reading  Book.” 

27x21 

From  the  collection  of  Robert  Hoe. 

The  portrait  is  that  of  a woman  little  past  the  age  of  twenty.  She  is 
represented  as  seated  by  a table  reading  from  a book  whose  leaves  are  gilt 
edged  and  each  page  embellished  with  a beautiful  colored  border.  In  front 
of  her,  upon  the  polished  table,  is  a rich  jewel  case  of  finely  wrought  gold, 
with  cover  of  the  same  material.  She  is  clothed  in  a low  necked  dress  made 
from  some  fine  black  material,  the  neck  and  sleeves  neatly  bordered  with 
hand-made  lace.  The  sleeves  are  of  red  velvet,  with  the  upper  arm  encircled 
by  a broad  band  of  royal  ermine.  The  features  are  regular  and  truly  classic, 
the  head  well  poised  upon  a delicate  neck,  and  no  less  beautiful  shoulders. 
The  whole  figure  is  brimming  over  with  modest  though  dignified  personality, 
which  marks  the  subject  as  a person  of  refinement  and  most  likely  a member 
of  the  nobility.  This  picture  was  the  gem  of  the  Robert  Hoe  collection. 


22 


T.  B.  WALKER  COLLECTION. 


BRETON  (Jules  Adolphe) France 

Born  at  Courrieres  (Pas-de-Calais),  1827. 

Pupil  of  Drolling  and  Devigne,  whose  daughter  he  married. 

One  of  the  best  French  painters  of  village  and  country  life. 


Medals,  1857,  1859,  1861,  1867. 

Medal  of  Honor,  1872. 

Legion  of  Honor,  1861.  Officer,  1867. 

“M.  Jules  Breton  attracts  and  fascinates  me.  I love  the  man  profoundly, 
for  I know  him  well,  and  I admire  the  painter,  having  followed  his  triumphal 
march  from  canvas  to  canvas  for  the  last  twenty  years.  Jules  Breton  is  a 
complex  being.  Poesy  has  endowed  him  with  two  strings  to  his  bow;  he 
describes  as  a thinker  and  artist,  and  paints  like  a poet.  From  his  earliest 
infancy  he  has  been  conscious  of  this  gradual  development  in  face  of  nature’s 
marvels.  Thus,  little  by  little,  this  initiation  became  a creed,  so  that  the 
mysteries  and  wonders  of  the  earth  have  not  had  so  eloquent  an  interpreter 
since  the  time  of  Jean-Franqois  Millet.” 

— Eugene  Montraiser  in  Goupil’s  Great  Modern  Painters. 

“M.  Breton’s  best  enemies  have  always  been  ready  to  compare  him  with 
Millet,  and  regard  him,  to  some  extent,  as  Millet’s  pupil,  merely  because  M. 
Jules  Breton  loves  fields,  peasants  and  the  soil,  as  though  each  one  did  not 
see  nature  with  his  own  eyes,  colored  by  his  own  sentiment.  The  truth  is 
that  no  comparison  of  these  two  painters  is  possible,  and  that  Millet’s  poetry 
is  a thing  apart  from  Jules  Breton’s,  which  is  fine,  too.  What  is  precisely 
the  stamp  of  this  artist’s  great  power,  is  a fact  that  Millet’s  success  as  a 
painter  of  the  ‘Angelus’  never  led  him  astray  from  his  own  path,  and  that  his 
individuality  was  strong  enough  to  keep  him  from  being  drawn  into  the 
groove  traced  by  another. 

“In  ‘L’ Appel  du  Soir,’  for  instance,  look  at  the  clear  atmosphere;  at  the 
two  beautiful  girls  calling  and  beckoning  to  their  comrades;  at  the  hay- 
makers carrying  their  load  of  freshly  mown  hay;  is  it  in  the  least  like  the 
work  of  any  painter  but  Jules  Breton?  And  is  not  this  fine  picture,  with 
its  charm,  its  conscientious  workmanship,  its  lofty  poetry,  worth  any  num- 
ber of  those  would-be  masterpieces,  sometimes  too  loudly  hailed,  only  to 
suffer  from  this  puffing  in  the  future  in  proportion  as  they  have  benefited  by 
it  in  the  past?”  — Figaro  Exposition. 


No.  5 — “1/ Appel  du  Soir.’*  (The  Evening  Call.) 

33x51 

This  is  one  of  the  most  important  pictures  of  the  collection.  It  was 
loaned  by  Mr.  Walker,  some  years  ago,  to  the  Chicago  Art  Institute  for 
exhibition.  The  following  is  from  the  report  of  the  Art  Director: 

“Another  and  3'et  finer  Breton  is  the  property  of  Mr.  T.  B.  Walker.  This 
is  a large  canvas,  ‘L’Appel  du  Soir,'  another  twilight  subject,  idyllic  in  its 


INDEX  AND  BIOGRAPHICAL  NOTES. 


23 


graceful  tenderness  and  purity.  The  lovely  swinging  pose  of  two  girls  who 
are  calling  across  the  wide,  dim  fields,  is  suggestive  of  some  pastoral,  some 
old-world  rite  at  eventide,  when  all  the  realities  of  life  fade  into  the  vague 
distance,  and  the  gods  whisper  strange  messages  into  mortal  ears.  The 
artist  by  color  and  line  and  atmosphere,  by  all  the  subtilties  of  his  craft, 
has  emphasized  the  weird  poetic  dreaminess  of  this  bewitching  time,  and 
the  result  is  an  idyllic  pastoral  of  rare  beauty,  the  loveliest  picture  the 
writer  has  ever  seen  from  the  brush  of  Jules  Breton.” 

The  artist  writes: 

“Have  you  not  my  ‘Call  of  the  Evening,”  which  my  friends  think  the 
best  of  my  pictures — perhaps  the  best?  I should  like  to  have  kept  this  pic- 
ture, of  which  I have  thought  so  long,  and  it  is  sad  to  me  to  see  it  cross 
the  ocean  like  its  sisters.  Herewith  are  some  stanzas,  which  the  picture  has 
inspired  me  to  write,  and  which  I send  you  quite  fresh  from  my  pen. 

“The  sun  was  just  setting,  leaving  a faint  redness  hardly  perceptible 
through  the  vapors  of  the  evening,  which  were  rising  at  the  horizon  and 
enveloped  it  like  a mysterious  veil.  I wandered  on  the  plain,  calmed  and 
cooled  after  the  heat  of  the  day.  Everything  breathed  a serene,  peaceful 
and  rural  majesty.  Some  haymakers  were  calling  from  one  field  to  another 
for  the  return  of  their  companions,  and  their  voices  resounded  sonorously  in 
the  midst  of  the  perceptible  mist.  One  of  them  approached,  her  hand  to 
her  mouth  to  make  a trumpet  of  it,  another  waved  in  the  sky  her  sickle 
which  formed  a dark  crescent  by  the  side  of  the  golden  moon,  whose  crescent 
shone  in  the  distance.  It  is  this  scene,  full  of  poetry,  which  I wanted  to 
trace  on  my  picture  and  translate  in  the  lines  which  follow: 

THE  EVENING  CALL. 

“It  is  the  time  for  calling  and  departure — 

All  is  vapor  upon  the  earth,  immovable  censor. 

The  sun,  appeased  by  the  freshness  of  the  evening — 

Extinguishes  its  sleeping  rays  flickering  in  the  mist. 

The  gleaner  has  uttered  her  cry  which  still  resounds 
While  her  companion  waves  her  sickle  in  the  air, 

Black  crescent  in  the  pale  sky  where  the  stars  twinkle 
Where  the  new  moon  forms  her  crescent  of  gold.” 

“The  present  picture  is  entitled  ‘L’Appel  du  Soir,’  and  formed  part 
of  the  Breton  exhibit  at  the  Paris  Exposition.  In  none  of  his  idyls  of  the 
life  and  labors  of  the  field,  in  which  he  touches  with  the  poetic  tenderness 
and  hopefulness  those  subjects  which  Millet  so  often  interpreted  with  the 
sober  force  of  tragedy,  has  Mr.  Breton  so  subtly  conveyed  the  sentiment  of 
that  rare  volume  of  poems  of  which  he  is  the  author,  and  in  which  he 
sings  in  words  as  he  paints  in  colors,  with  the  thrilling  carol  of  the  lark, 
drunk  with  the  dews  of  morn,  or  the  lingering  harmonies  of  the  nightingale, 
swooning  in  an  ecstacy  of  song  among  the  perfumed  shadows  of  the  twilight. 

“It  is  the  end  of  day.  Nature  veils  the  harvest  traits  of  her  inflexible 
visage,  ever  beautiful  but  ever  stern  in  reminders  of  eternal  duty  to  the 
poor.  The  fires  of  vine  branches  and  wayside  fagots  glimmer  under  cabin 
pots  watched  by  purblind  eyes  and  stirred  by  shaking  hands,  for  we  who 
till  the  soil  and  gather  in  the  harvest  must  labor  till  the  last  palsy  strikes 
us  down.  But  we  are  not  yet  all  old,  and  we  who,  in  the  open  fields,  still 
sturdy  of  frame  and  bone,  still  holding  within  ourselves  some  phantom  of 


24 


T.  B.  WALKER  COLLECTION. 


the  romance  of  life,  uncrushed  by  accumulating  realities,  can  straighten 
stiffened  muscles,  at  the  first  call  of  the  little  gray  owl  in  the  thicket,  the 
watchman  whose  duty  begins  when  the  sun  ends,  and  sends  the  welcome 
summons  ringing  from  voice  to  voice  across  the  busy  farms  that  the  day  is 
gone.”  — The  Collector. 

M.  Breton’s  daughter,  Mme.  Demont-Breton,  says: 

“My  father’s  friends  think  this  ‘Call  of  the  Evening’  is  his  best  picture, 
and  my  father  thinks  so  also.  I am  sure  it  is  the  best  picture  he  has  ever 
painted,  and  my  husband  and  our  friends  are  of  the  same  opinion.  I am 
very  glad  that  my  picture  (‘Her  Man  is  on  the  Sea’),  is  going  into  the  same 
collection  with  this,  the  best  of  my  father’s  work.” 

No.  6— “The  Last  Ray” 

35x63  Lb 

The  masters  have  produced  many  noble  works  of  art,  and  if  the  critic 
were  asked  to  name  the  greatest,  he  would  unquestionably  ask  “In  what  re- 
spect?” For  as  each  possessed  an  individuality  peculiarly  his  own,  just  so 
the  great  masterpieces  of  art  differ  one  from  the  other,  so  that  it  is  next 
impossible  to  even  make  a comparison.  One  may  excel  as  a colorist,  others 
in  drawing,  atmosphere,  figures,  portraiture,  selection,  etc.  Ofttimes  ineffi- 
ciency in  one  branch  of  the  art,  being  more  than  overbalanced  by  proficiency 
in  others.  There  is  a class,  however,  known  as  “The  Immortals,”  which 
are  no  doubt  more  universally  admired  than  all  others.  These  show  the 
workmanship  of  a genius,  the  beautitudes  of  the  poet,  and  the  conscience 
of  a philosopher.  The  works  of  Jules  Breton  belong  to  this  important 
group,  and  especially  is  this  true  of  “The  Last  Ray.”  For,  although  his 
composition,  his  colors,  and  his  interpretation  of  the  mysterious  beauties 
of  nature  are  all  but  faultless;  yet  even  these  splendid  and  indispensable 
qualities  are  but  incidents  to  its  intrinsic  merits,  and  constitute  only  the 
setting  necessary  to  the  great  central  charm  which  is  found  in  the  artist’s 
portrayal  of  a simple,  perfect  home.  In  this  sentiment,  the  most  precious 
it  is  possible  for  the  human  j heart  to  conceive,  is  found  the  soul  of  the 
masterpiece  of  one  of  the  greatest  painters  of  the  nineteenth  century. 

The  following  letter  from  the  artist’s  daughter,  clearly  defines  the 
painting,  not  only  as  a work  of  art,  but  the  sweet  sentiment  which  her 
father  so  clearly  expressed  in  its  composition. 

Wissant  Pas  de  Calais,  March  29,  1912. 

“Dear  Mr.  Walker:  We  have  heard,  my  husband  and  myself,  with  great 
pleasure,  that  my  father’s  painting  the  ‘Last  Ray’  has  just  entered  into  your 
collection. 

This  picture  was  among  those  which  my  father  used  to  mention  as  one 
of  his  best,  and  it  had  very  great  success  at  the  Solon.  It  is  certainly  one 
of  the  works  in  which  my  father  has  allied,  in  the  happiest  manner,  human 
feeling  and  family  love,  with  the  general  impression  of  nature  which  en- 
velopes peasant’s  lives.  It  is  impossible  to  imagine  a gentler  scene,  a 
calmer  hour,  a purer  and  more  poetical  joy.  All  stages  of  life  are  repre- 
sented; the  emotion  of  the  old  couple,  the  strong  and  healthy  happiness  of 
the  young  couple,  and  the  joyful  rush  of  the  child  towards  them  in  the  last 
rays  of  sunset.  All  is  rendered  with  the  charms  and  expressive  intensity 
which  make  the  everlasting  masterpieces.” 

(Signed)  VIRGINIA  DUMONT  BRETON. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


25 


BREVORT  (James  Renwick). 

American  School. 

Born  in  Westchester  County,  N.  Y.,  1832. 

Student  of  Thomas  S.  Cummings. 

Member  of  National  Academy,  1863. 

Has  resided  in  Florence  since  1874. 

“J.  R.  Brevort’s  landscapes  are  broad  and  truly  characteristic  of  Ameri- 
can scenery  with  pleasing  atmospheric  effects.  * * * One  of  the  designs 

to  illustrate  a poem  exhibits  rare  feeling  and  his  large  ‘Harvest  Scene,  with 
a Coming  Storm,’  shows  advancing  power  and  a fine  management  of  light.” 

— Tuckerman’s . 

“He  was  made  professor  of  Perspective  in  1872,  a position  he  held  f or 
two  years.  * * * Among  his  best  works  in  America  are  ‘Lago  Mag- 

giore,’  belonging  to  Mr.  Fitzgerald;  ‘November  Winds,’  in  the  Longworth 
collection,  Cincinnati,  and  ‘Farmington  Meadows,’  painted  for  Jay  Cooke. 
Since  his  residence  in  Florence  he  has  made  several  sketching  tours  in 
Germany,  Holland,  Switzerland,  to  the  Italian  Lakes,  etc.” 

— Artists  of  the  Nineteenth  Century. 

No.  7 — ‘'Sentinel  Bluffs  on  the  Upper  Hudson.” 

18x26. 

The  deep,  clear  waters  reflect  most  naturally  the  green  of  adjoining  hills 
and  trees,  and  the  bay,  with  valley  extending  far  up  among  the  hills,  marks 
the  course  and  the  confluence  of  a smaller  stream  which  here  empties  into 
the  river.  A small  hamlet  nestles  at  the  base  of  the  nearest  bluff,  all  but 
hidden  from  view  by  the  cluster  of  green  trees  bordering  the  shore.  The 
soft  breeze  that  precedes  the  threatening  shower,  causes  gentle  ripples  to 
chase  each  other  across  the  emerald  bay  and  gives  warning  to  the  boating 
parties  to  pull  for  shelter.  As  far  as  the  eye  reaches,  the  great  bluffs  stand 
lined  up  as  sentinels,  those  in  the  distance  but  shadowy  forms  seen  through 
the  smoky  atmosphere  appear  like  phantom  hills.  His  management  of 
atmosphere  and  light  is  most  pleasing  and  commendable. 


BERRY  (P.  V.)  --------  America 

Born  at  Troy,  New  York,  February  25,  1850. 

Studied  art  under  Professor  Lucien  Colliere,  at  St.  John’s  College,  Fordham, 

New  York. 

His  pictures,  from  their  natural  style,  are  fast  creating  for  him  a wide 

reputation. 

Exhibited  in  National  Academy  1883,  and  later  years. 


26 


T.  B.  WALKER  COLLECTION. 


No.  8 — “In  the  Foothills  of  the  Blue  Ridge  Mountains.” 

18x30. 

Through  a beautiful  valley  of  pasture  lands,  with  here  and  there  a 
cluster  of  brush  and  tall  grass,  a road  skirts  a foot-hill  to  the  right.  On  the 
road  some  cows  are  being  driven  to  pasture  by  a man  on  horseback.  Through 
the  low  land  in  the  left  foreground  a little  creek  winds,  partly  hidden  by 
underbrush  and  bushes.  A strong  gleam  of  sunlight  shines  through  a rift 
in  the  clouds  to  the  left,  illuminating  the  distant  trees  and  hills.  On  the 

right  the  sky  is  heavy  with  dark  and  lowering  clouds.  The  picture  shows 

a wonderfully  clear  management  of  light  and  shade,  and  is  thoroughly  true 
to  nature.  As  fine  and  beautiful  as  are  Rousseau’s  finest  landscapes. 

BIERSTADT  (Albert)  - --  --  --  - New  York 

Born  at  Dusseldorf,  Germany,  1830. 

Brought  to  New  Bedford,  Massachusets,  when  very  young. 

Studied  at  Dusseldorf  and  Rome. 

Elected  member  of  National  Academy,  1860. 

Chevalier  of  the  Legion  of  Honor,  1867. 

Order  of  St.  Stanislaus,  Russia,  1869. 

Again  visited  Europe  in  1867,  1875  and  1883. 

Imperial  Order  of  the  Medjidii  from  the  Sultan  of  Turkey. 

Medals:  Austria,  Germany,  Bavaria  and  Belgium. 

In  1867  he  was  sent  to  Europe  upon  a government  commission,  to  make 
studies  for  a painting  of  the  “Discovery  of  the  North  River  by  Hendrik 
Hudson.”  Several  of  his  pictures  are  owned  by  the  United  States  govern- 
ment. 

“The  same  careful  finish  of  detail,  skilful  management  of  light,  and 
eyes  for  picturesque  possibilities  which  made  Bierstadt’s  Old  World  sub- 
jects so  impressive  and  suggestive,  have  rendered  his  studies  of  American 
scenery  full  of  bold  and  true  significance.  He  is  not  a mere  copyist  of 
nature,  but  an  artist  having  definite  artistic  intentions,  and  carrying  them 
out  with  care  and  resolution.  He  is  always  trying  for  luminous  gradations 
and  useful  oppositions,  and  reaches  what  he  tries  for.” 

— London  Saturday  Review. 

No.  9 — “California  Sunshine.” 

13^x19^. 

This  scene  is  taken  from  one  of  the  valleys  of  Lower  California.  The 
water  stands  in  pools  under  the  scattering  trees.  Deer  are  feeding  on  the 
tall  grass,  and  the  air  seems  loaded  with  the  mist  and  vapor  that  arises  from 
the  teeming  earth,  the  whole  deluged  with  a flood  of  yellow  sunlight.  There 
is  a wonderfully  tranquil  and  placid  expression  of  beauty  in  this  picture. 
As  a study  in  composition,  perspective  and  distance,  it  is  worthy  of  the 
closest  attention.  The  artist  has  handled  his  theme  with  great  delicacy  and 
much  knowledge  of  natural  beauties. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


27 


BODEKKER  (Johannes  Frederick). 

Born  at  Cleves,  1660. 

Died  at  Amsterdam,  1727. 

“A  Dutch  portrait  painter,  a scholar  of  Jan  de  Baan,  and  met  with 
great  encouragement  in  his  profession  at  Amsterdam  and  the  Hague.  One 
of  his  best  productions  was  the  half  length  portrait  of  Duke  Eberhard  Lud- 
wig, of  Wurtemberg.”  — Bryan's  Dictionary  of  Painters  and  Engravers. 

“He  was  a disciple  of  John  de  Baan;  after  which  he  practiced  portrait 
painting  with  reputation  successfully  at  Bois-le-due,  Breda,  and  the  Hague, 
where  he  received  many  acts  of  kindness  from  persons  of  the  first  rank. 
At  last,  he  removed  to  Amsterdam  on  account  of  the  encouragement  which 
his  performances  experienced  in  that  city.” 

— Pilkinton’s  Dictionary  of  Painters. 

No.  10 — “A  Noble  Lady  of  Amsterdam.” 

29^x23. 

Unfortunately  the  identity  of  the  subject  has  been  lost.  However,  the 
portrait  serves  well  to  demonstrate  this  Dutch  master’s  ability  as  a portrait 
painter.  The  picture  is  that  of  a noble  woman  in  middle  life,  dressed  in 
a gown  of  some  dark  material  with  lace  collar  and  sleeves.  The  hair  is 
arranged  after  the  style  in  Holland  at  the  beginning  of  the  eighteenth 
century.  The  artistic  hand,  the  well  poised  head  and  the  interesting  face 
portray  a poetic  nature  and  a person  of  superior  attainments. 


BLOEMEN  (Pieter  Von). 

Flemish  School. 

Known  also  as  Standaart  or  Stendario  (Standard). 

Born  in  Antwerp.  Baptised  January  17,  1657. 

Died  there.  Buried  March  6,  1720. 

Pupil  of  Simon  Van  Douw,  an  imitator  of  Wouwerman. 

Master  of  the  Guild,  1674. 

Member  of  the  Academy  of  St.  Luke,  Rome. 

Director  of  the  Academy  at  Antwerp,  1699. 

Genre  and  landscape  painter. 

“Following  the  example  of  his  brother  (Jan  Franz)  he  went  to  Italy 
for  improvement.  The  name  of  Standaart  was  given  him  by  his  countrymen 
at  Rome  from  his  occasionally  painting  attacks  of  cavalry.  After  passing 
some  years  in  Italy,  he  returned  to  Flanders  with  the  studies  he  had  made 
from  the  objects  worthy  of  notice  in  the  neighborhood  of  Rome.  The  pic- 
tures of  this  master  represent  battles,  the  march  of  caravans,  horse  fairs, 
etc.,  ingeniously  composed  with  a number  of  figures,  horses  and  other 
animals  extremely  well  drawn,  and  painted  with  uncommon  freedom.  He 
decorated  his  landscapes  with  the  ruins  of  architecture  and  statues  from  the 
studies  he  had  made  in  Italy,  and  his  figures  are  designed  in  a superior  style 
to  the  usual  taste  of  his  country.”  — Painters  and  Engravers. 

“His  pictures  are  much  in  the  style  of,  and  represent  the  same  subjects 
as,  those  by  Wouwerman.”  — Painters  and  Their  Works. 


28 


T.  B.  WALKER  COLLECTION. 


No.  11 — “Old  Stone  Fort  in  Flanders.’’ 

19x27. 

Painted  much  after  the  manner  of  Philip  Wouwerman.  The  peculiar 
old  Dutch  fort  stands  on  the  shore  of  a lake  .or  bay  well  within  the  shadows 
of  the  adjoining  forest.  A flight  of  massive  stone  steps  lead  down  to  a fine 
spring  brook  which  empties  its  crystal  waters  into  the  lake  at  this  point. 
Women  are  busy  washing  clothing  at  the  brook  and  hanging  them  on  the 
lines  to  dry,  while  one  man  is  fishing  and  others  busying  themselves  with 
other  work  and  pleasure.  The  approach  of  two  mounted  messengers  pro- 
vokes considerable  excitement  and  a number  of  men  hurriedly  surround 
them,  eager  to  learn  the  story  of  their  reconnoiter.  The  weird  scene  is 
characteristic  of  this  old  master  and  the  color,  tone,  and  drawing,  fully 
demonstrate  his  right  to  be  classed  among  the  leading  painters  of  his  day. 


BOL  (Ferdinand). 

Dutch  School. 

Born  at  Dordrecht,  in  1611. 

Died  in  Amsterdam;  buried  July  24,  1680. 

Student  of  Rembrandt  Van  Rijn,  whose  studio  he  entered  in  1630. 

“Lived  chiefly  at  Amsterdam,  where,  in  1653,  he  married  Elizabeth  Dell. 
Painted  many  historical  pictures,  excelled  in  portraits  and  was  an  excel- 
lent etcher.”  — Cyclopedia  of  Painters  and  Painting. 

“His  masterpiece,  the  ‘Four  Regents  of  the  Leprosy  Hospital/  * * * 

at  a certain  exhibition  held  for  charitable  purposes,  is  said  to  have  received 
more  notice  and  praise  than  any  of  the  works  of  his  master,  Rembrandt. 
Yet  Bol  was  a very  uncertain  painter;  and  although  while  under  the  influ- 
ence of  Rembrandt  he  produced  works  that  may  have  passed  as  being  the 
work  of  the  master  himself,  he  later  degenerated  into  a bad  imitator  of 
Rembrandt.  This  change  is  apparent  in  those  paintings  of  Bol  that  bear  a 
later  date  than  1660,  when  he  had  probably  left  Rembrandt.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers . 

No.  12— “Madam  Stercke.” 

41^x35. 

From  the  collection  of  Asher  Weitheimer,  London.  Signed  and  dated 
1658.  Painted  under  the  influence  of  his  great  master,  Van  Rijn  Rembrandt. 

Madam  Stercke  was  the  wife  of  Querinus  Stercke,  a great  friend  of 
the  artist,  her  maiden  name  was  Helena  Eckout,  being  a daughter  of  Ger- 
brand  Van  der  Eckout,  a pupil  of  Rembrandt,  who  became  one  of  the 
noted  Dutch  painters.  The  painting  shows  her  when  about  twenty  years  of 
age,  standing  on  the  veranda  in  the  act  of  plucking  from  a potted  plant  a 
spraj/-  of  sweet  verbena.  The  half  smile  on  the  beautiful  face  and  the 
striking  expression  of  the  laughing  brown  eyes  are  so  realistic,  as  to  all  but 
speak,  while  the  shapely  hands  are  so  perfectly  natural  that  it  seems  that  a 
glow  of  warmth  could  radiate  from  them.  The  figure  is  gowned  in  a dress 


INDEX  AND  BIOGRAPHICAL  NOTES. 


29 


of  some  striped  material  over  which  is  a dark  velvet  coat  with  lace  trimmed 
sleeves.  Over  the  shoulders  is  the  broad  white  collar  so  fashionable  in  the 
Dutch  capital  at  that  period.  This  picture  was  painted  in  the  greatest  period 
of  this  artist’s  career  and  has  been  pronounced  the  best  that  ever  came  from 
his  ready  brush. 

No.  13 — “Portrait  of  an  Old  Lady.” 

31x26  Yz. 

This  is  painted  in  the  strong,  rich  colors  of  the  Rembrandt  school.  It 
is  the  portrait  of  an  old  lady  wearing  a large  ruff,  common  to  that  period 
of  history.  The  background  is  a dark,  rich  brown  color.  The  dress  is  a 
little  heavier,  but  in  largely  the  same  tone,  while  the  ruff,  in  a yellowish 
white,  makes  a fine  contrast  below  the  face,  with  the  dark  background  and 
black  hair.  In  the  lower  left-hand  corner  is  the  artist’s  signature  and  the 
date,  1654. 

Came  from  Colnaghi,  London. 

No.  14 — “Portrait  of  a Woman.” 

27x20. 

This  striking  portrait  was  painted  no  doubt  in  this  Dutch  artist’s  mid- 
dle and  best  period,  1654-1659,  while  he  was  yet  with  his  great  master, 
Rembrandt.  The  composition  and  coloring  is  fully  up  to  that  of  Franz 
Hals,  and  might  easily  be  mistaken  for  that  master's  work,  the  face  and 
the  hands  being  exceptionally  fine.  The  figure  is  attired  in  a gown  of  some 
rich,  dark  material  tastefully  embroidered.  The  somewhat  plain  but  intelli- 
gent face  is  made  to  stand  out  prominently  by  the  old  Elizabethian  collar, 
and  the  peculiar  manner  of  doing  up  the  hair.  And  those  hands;  they  seem 
to  throb  with  life,  and  send  forth  a warmth  as  in  fancy  they  twitch,  ner- 
vously anxious  to  do  their  accustomed  work.  They  are  wonderful  hands, 
seldom  equalled,  and  likely  never  surpassed  by  any  artist  either  ancient  or 
modern. 


BQNHEUR  (August  Franqois)  -------  France 

Born  at  Bordeaux,  1824.  Died,  1884. 

Medals,  1857,  1859,  1861,  1863. 

Legion  of  Honor,  1867. 

“This  artist  painted  animals,  with  landscape  backgrounds  of  more  mel- 
lowness and  beauty  than  his  sister  Rosa’s.  Fie  attained  the  honor  of  Chevalier 
of  the  Legion  of  Honor,  1867,  and  but  for  the  eclipsing  fame  of  his  sister, 
would  have  gained  an  even  wider  reputation  than  hers.” 

— French  Painters  and  Paintings. 

No.  15 — “Cattle  Resting  in  the  Shade.” 

22x28. 


A herd  of  cows  are  resting  under  the  dense  foliage  of  large  trees  at 
the  foot  of  a hill.  One  of  the  cows  is  standing  in  the  middle  of  a small 


30 


T.  B.  WALKER  COLLECTION. 


pond  in  the  foreground,  while  others  are  ruminating  in  the  shade  on  its 
banks.  It  is  a bright  sunny  day  and  the  shadows  of  the  foliage  on  the 
hillside  are  striking  and  effective.  In  the  distance,  on  the  hill-top,  another 
herd  is  seen,  through  the  opening  between  the  trees,  while  the  bright,  blue 
sky  forms  an  excellent  background.  The  verdure,  the  foliage,  and  the  warm 
and  beautiful  coloring  all  lead  us  to  acknowledge  the  greatness  of  this 
artist’s  genius. 

BONHEUR  (Marie)  Rosa Paris 

Born  in  Bordeaux,  March  22,  1822.  Died  at  her  Chateau,  by  Thomery,  on 
the  edge  of  the  forest  of  Fountainbleu,  May  22,  1899. 

Animal  painter. 

Daughter  and  pupil  of  Raymond  Bonheur. 

Began  by  copying  in  the  Louvre;  afterwards  made  studies  and  sketches 
near  Paris.  Her  first  two  pictures  exhibited  at  Bordeaux  in  1841  attracted 
much  attention,  and  were  followed  by  others  which  established  her  world-wide 
fame.  During  the  Franco-Prussian  war  her  studio  and  residence  were  re- 
spected by  special  order  of  the  Crown  Prince  of  Prussia.  Since  1849  she  has 
been  director  of  the  Paris  Free  School  of  Design  for  Young  Girls,  which  she 
founded.  She  was  elected  member  of  Antwerp  Institute  in  1868.  Medals 
first-class  1848  and  1855;  Legion  of  Honor,  1865;  Leopold  Cross,  1880. 

The  “Ploughing  in  Nivarnais”  was  placed  in  the  Luxembourg,  and  the 
“Horse  Fair”  was  a leading  attraction  at  the  French  Exposition  in  1853, 
and  at  the  Universal  Exposition  at  London,  in  1855.  The  artist  worked  eigh- 
teen months  on  this  latter  picture,  attending  the  horse  market  in  Paris  twice 
a week  regularly  during  the  time. 

In  addition  to  the  honors  referred  to,  this  artist  has  received  several 
other  medals,  and  in  1865  was  decorated  with  the  Cross  of  the  Legion  of 
Honor. 

“The  greatest  animal  painter  now  in  France  is  probably  Rosa  Bonheur. 
There  is  the  same  intense  observation  and  sympathy  with  nature,  the  same 
vigor  of  treatment,  we  find  in  the  works  of  Troyon  and  Landseer,  so  far  as 
the  representation  of  cattle  is  concerned.”  — L.  G.  W.  Benjamin. 

“The  most  accomplished  female  painter  who  ever  lived.” 

— Philip  Gilbert  Hamerton. 

“And  she  is  praised  for  firmness  of  design  and  for  the  grand  character 
of  her  landscapes.”  — Vapereau. 


No.  16 — “Deer  Coming  to  the  Brook  to  Drink.” 

19^x13^. 

In  the  foreground  stands  a magnificent  male  deer.  Great  antlers  crown 
his  well  poised  head,  his  trained  eye  hurriedly  scans  the  landscape  ere  he 
drinks  from  the  crystal  brook  at  his  feet.  Immediately  back  of  him,  two 
does  cautiously  venture  from  the  shelter  of  the  friendly  wood.  With  ears 
alert  and  eyes  piercing  the  surrounding  shadows  lest  a lurking  foe  surprise 
them,  they,  too,  approach  the  drinking  place.  The  full  grown  antlers  of  the 


INDEX  AND  BIOGRAPHICAL  NOTES. 


31 


stately  buck  and  vari-colored  leaves  in  the  forest  marks  the  time  as  early 
autumn. 

A characteristic  and  beautiful  picture  by  this  most  wonderful  animal 
painter. 

No.  17 — “Rosa  Bonheur’s  Palette. 

When  Rosa  Bonheur  had  finished  her  masterpiece,  “The  Horse  Fair,” 
her  godson,  Georges  Cain,  asked  her  for  the  palette  which  she  had  in  her 
hand.  With  the  palette  on  her  thumb,  Mme.  Rosa  smiled  and  said,  “I  intended 
to  keep  that,  as  I have  used  it  for  over  twenty  years,  but  if  you  must  have 
it,  then  I will  paint  you  a picture  on  it.”  She  then  painted  the  “Deer  in  the 
Forest,”  and  added  her  autograph.  The  paints  are  just  as  she  distributed 
them,  dried  around  the  edge  of  the  palette;  the  whole  is  framed  under 
glass.  Adverse  circumstancse  compelled  the  owner  to  part  with  it,  and  it 
has  at  last  found  its  way  to  America. 


No.  18 — “Scene  in  the  Foothills  of  the  Pyrenees.” 

20x27. 

This  scene  represents  Rosa  Bonheur  herself  riding  the  bay  horse  and 
dressed  in  her  accustomed  male  attire  of  coat,  pants  and  vest  of  brown 
velvet,  and  straw  hat.  Her  close  friend,  Madame  Mecas,  is  by  her  side  on 
the  grey  horse.  The  scene  presented  is  a true  view  of  herself  and  friend  as 
there  shown  in  the  foot  hills  of  the  Pyrenees  in  Spain.  She  seemed  to  be 
attracted  by  the  mountain  regions  of  Spain  and  Scotland,  where  many  of 
her  finest  picture  scenes  were  located.  This  is  a most  beautiful  and  char- 
acteristic example  of  the  art  of  this  greatest  of  the  women  artists  of  the  world. 

C CA  v \ 

BONONI  (Carlo). 

Born  at  Ferrara  in  1569.  Died  at  the  same  place  in  1632. 

Lombard  School. 

Instructed  in  art  by  Guiseppe  Mazzuoli  (called  II  Basaruolo). 

“Bent  on  improvement,  he  visited  Bologna  where  the  Carracci  were 
then  in  the  zenith  of  their  fame.  Their  works  inspired  him  with  a new 
idea  of  his  art.  After  passing  some  time  at  Bologna,  he  went  to  Rome 
where  he  improved  his  style  of  design  by  studying  after  the  antique.  His 
predilection  for  the  style  of  Carracci  drew  him  again  to  Bologna  where 
he  copied  some  of  their  principal  works.  He  afterwards  went  to  Venice 
where  the  splendid  productions  of  Paolo  Veronese  appear  to  have  excited  the 
liveliest  admiration.  The  works  of  Correggio  at  Parma  seem  to  have  been 
not  less  the  objects  of  his  contemplation.  In  his  smaller  works  he  ap- 
proached so  near  to  the  style  of  the  Carracci  that  he  was  called  the  ‘Carracci 
of  Ferrara’.”  — Painters  and  Engravers. 

“He  was  called  the  ‘Carracci  of  Farrari.’  In  his  later  works  he  resembles 
Paolo  Veronese,  whose  pictures  he  studied  in  Venice.  He  was  a rival  all 
his  life  of  Ippolito  Scarsella.  Many  of  his  works  are  in  the  churches  of 
Ferrara.”  — Cyclopedia  of  Painters  and  Painting. 


32 


T.  B.  WALKER  COLLECTION. 


No.  19 — “Building  the  Tower  of  Babel.” 

20x33. 

“And  they  said  one  to  another,  ‘Go  to,  let  us  make  brick  and  burn 
them  thoroughly/  And  they  had  brick  for  stone  and  slime  had  they  for 
mortar.  And  they  said,  ‘Let  us  build  us  a city  and  a tower  whose  top  may 
reach  unto  heaven;  and  let  us  make  us  a name  lest  we  be  scattered  abroad 
upon  the  face  of  the  whole  earth/  * * * So  the  Lord  scattered  them 

abroad  from  thence  upon  the  face  of  all  the  earth,  and  they  left  off  to  build 
the  city.  Therefore  is  the  name  of  it  called  Babel;  because  the  Lord  did 
there  confound  the  language  of  all  the  earth.” 

At  the  lower  right-hand  corner  the  queen  and  her  consort  are  directing 
the  work,  while  everywhere  workmen  swarm  like  ants,  each  carrying  forward 
some  portion  of  the  herculean  task.  On  the  left  are  the  brick  kilns  and  the 
pit  for  mixing  the  mortar.  Bononi  represents  the  tower  as  spiral  shaped, 
with  winding  roadway  from  the  bottom  to  the  unfinished  top,  which  is  most 
likely  correct.  His  figures  are  well  drawn  and  the  detail  most  remarkable. 

“BRONZENQ”  (AHori  Alesandro). 

Born  at  Monticelli,  May  3,  1535. 

Died  at  Florence,  Sept.  22,  1607. 

“He  was  the  son  of  a painter,  but  having  the  misfortune  when  he  was 
only  five  years  of  age  to  lose  his  father,  he  was  placed  under  the  care  of 
his  Uncle  Angiolo  Allori,  who  brought  him  up  with  all  the  affection  of  a 
parent.  Before  he  was  seventeen  years  of  age,  he  had  made  such  progress 
under  this  able  master,  that  he  painted  from  his  own  design,  an  altar  piece 
representing  the  Crucifixion,  a composition  of  several  figures  ingeniously  ar- 
ranged, and  well  colored.  When  he  was  nineteen,  he  visited  Rome,  where 
he  remained  two  years.  The  chief  objects  of  his  admiration  and  study  in 
that  city  were  the  works  of  Michelangelo  and  the  grand  style  of  that 
master  is  discernable  in  his  picture.  On  his  return  to  Florence,  he  was 
greatly  occupied  for  the  churches  and  other  public  edifices.  He  was,  how- 
ever, occasionally  prevailed  on  to  paint  the  portraits  of  some  of  the  distin- 
guished personages  of  his  time,  which  he  treated  in  a great  and  admirable 
style.  * * * On  the  whole,  his  genius  appears  to  have  been  equal  to 
every  branch  of  painting.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“In  his  works  the  best  of  which  are  his  portraits,  he  imitated  the  style' 
of  Michel  Angelo  Buonarroti.  In  1590  he  published  a book  entitled  “Dialogo 
Sopra  Parte  del  disegnare  le  Figure/  illustrated  with  anatomical  plates. 
Pictures  by  him  are  very  numerous,  there  being  in  the  Uffizi  at  Florence 
alone,  sixteen. 

— Painters  and  Their  Works. 

Nephew  and  pupil  of  Angelo  Bronzino.  * * * Among  his  works  are 
Baptism  of  Christ,  Marriage  at  Cana.  * * * Portrait  of  a Young  Man, 

Hermitage,  St.  Petersburg,  Bonaventura  Family,  Bianca  Capello,  etc.” 

— Cyclopedia  of  Painters  and  Paintings. 

No.  20 — “Bianco  Capello.” 

35l4x26j4- 

From  the  Chas.  Butler  Collection,  Later  from  Asher  Wirheimer  Collection, 

London. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


33 


She  was  born  in  Venice  in  1542.  In  1563  she  eloped  with  a banker’s 
clerk  named  Pietro  Buonaventuri  who  put  himself  under  the  protection  of 
Francesco  de  Medici,  Grand  Duke  of  Tuscany,  at  Florence.  Francesco  made 
Bianci  his  mistress,  and  her  husband  his  steward,  whom  soon  after  he  had 
put  to  death.  Upon  the  death  of  the  Duke’s  wife,  Joanna  of  Austria,  he 
married  Bianci  (1578).  She  and  Francesco  are  supposed  to  have  been 
poisoned  in  the  castle  Paggio  di  Capano  Oct.  11,  1587,  by  Cardinal  Ferando, 
brother  and  successor  to  Francesco.  Bianci  is  accused  of  ordering  or  in- 
stigating the  assassination  of  several  persons.  In  those  days  dame  fashion 
decreed  that  ladies  of  rank  and  nobility  must  needs  shave  the  head  to  make 
the  forehead  higher,  thus  making  them  appear  more  intellectual.  This  pe- 
culiar style  accounts  for  the  abnormal  breadth  of  Bianci’s  forehead  in  the 
portrait. 


BOULANGER  (Gustave  Rudolphe  Clarence)  - Paris 

Born  at  Paris,  April  28,  1824.  Died  in  1888. 

Best  known  for  his  historic  pictures. 

A pupil  of  Delaroche. 

Gained  the  Prix  de  Rome  in  1849,  and  studied  for  seven  years  in  Italy. 

He  subsequently  visited  Algeria  and  painted  pastoral  scenes,  but  returned 
to  subjects  of  his  early  choice,  and  became  famous  for  his  pictures  of  classic 
history,  such  as  “Lucretia  Spinning,”  “Lesbia  and  Pier  Sparrow,”  and  “Her- 
cules and  Omphale.”  Received  many  medals.  The  Legion  of  Honor  was 
also  conferred  in  1865.  His  travels  in  Africa  furnished  material  for  several 
very  prominent  works,  including  “Horsemen  of  the  Sahara,”  “Djeid  and 
Rahia,”  and  “Portrait  of  Hamdy-Bay”  (1865).  Some  of  his  later  works  were 
“Summer  Bath  at  Pompeii;”  “Roman  Comedians  Rehearsing  Their  Parts’* 
(1876);  “St.  Sebastian  and  the  Emperor”  (1877);  “Repast  in  the  House  of 
Lucullus”  (1878);  “Slave  with  a Fan”  (1882)  and  many  others. 

“Without  rivaling  the  wonderful  variet}'-  of  Gerome,  M.  Boulanger  has 
great  affinities  with  him.  He  belongs  to  the  group  of  refined  artists,  who, 
after  1848,  created  the  neo-Greek  fashion,  in  which  familiar  scenes  replaced 
the  great  tragic  subjects  of  the  Academical  School  of  David.  His  experi- 
ences in  Africa  have  given  another  direction  to  his  talent,  but  here  again 
he  may  be  classed  with  Gerome,  in  the  series  of  traveled  painters,  whose 
aim  it  is  to  reproduce  the  types  and  customs  of  a race.  M.  Boulanger’s 
talent  is  more  delicate  than  powerful,  but  this  artist  will  always  find  favor 
with  public.”  — Rene  Menard. 

No.  21 — “Daily  Nev/s  Reading  at  the  Barber  Shop  of  Licinius.,, 

27y2x46y2. 

On  the  right,  with  its  blue  shutters  raised  as  a protection  from  the 
sun’s  rays,  stands  the  barber  shop  of  Licinius.  Before  the  shop  and  in  the 
foreground  a group  of  men  are  listening  to  the  crier,  who  reads  from  the 
scroll  in  his  hand,  the  news  of  the  hour.  Upon  the  left,  two  women,  at- 
tended by  a black  slave,  stand  talking  to  a man  seated.  In  the  left  distance 
a man  grinding  a knife.  Still  farther  in  the  distance  under  the  trees  stand 
a yoke  of  oxen.  Above  and  beyond,  the  roofs  of  the  marble  city  can  be 
seen.  One  of  the  finest  of  modern  paintings. 


34 


T.  B.  WALKER  COLLECTION. 


In  1774  Thomas  Gainsborough,  the  rival  of  Joshua  Reynolds,  to  prove 
the  inaccuracy  of  Reynolds’  statement  that  blue  was  not  a proper  color  to 
use  in  a great  painting,  being  cold  and  unattractive,  painted  the  “Blue  Boy,” 
which  on  the  Continent  is  looked  upon  as  one  of  the  finest  of  all  the  English 
figure  pictures.  It  was  withdrawn  at  the  Dana  sale,  and  now  commands  an 
extraordinary  high  price.  Boulanger,  in  line  with  this  idea  that  blue  colors 
handled  in  their  most  refined  and  harmonious  tints  would  procure  a most 
attractive  picture,  painted  this  “Barber  Shop  of  Licinius.”  Many  of  the  best 
judges  regard  this  as  Boulanger’s  most  beautiful  and  valuable  work,  and  a 
very  great  success  as  an  almost  pure  picture  in  blue. 

No.  22 — “Pleasant  Hours  in  the  House  of  Lucullus.” 

27 14x46  JL 

This  painting  is  mentioned  among  other  celebrated  works  of  this  artist, 
in  the  “Cyclopedia  of  Painters  and  Painting”  (p.  190),  under  the  title  “Repast 
in  the  House  of  Lucullus.” 

Under  a yellow  canopy,  on  either  side  of  a well-spread  table,  Lucullus 
and  his  guests  recline.  In  the  center,  upon  a Persian  rug,  a dancing  girl  is 
tripping  to  the  music  of  a band  of  slaves  on  the  right.  In  the  distance  four 
slaves  are  carrying  in  upon  a table  the  next  course  in  the  rich  banquet.  The 
marble  building,  trees  and  shrubbery  form  the  background. 

BOUGUEREAU  (William)  Adolphe  ------  France 

Born  at  LaRochelle,  1825. 

In  1842  he  went  to  Paris  and  entered  the  studio  of  Picot,  and  later  the  Ecole 
des  Beaux-Arts,  where  his  progress  was  rapid. 

He  gained  the  Prix  de  Rome  in  1850,  and  then  studied  in  Rome. 

Medals,  Paris,  1855  (Exposition  Universelle),  1857, 

1867  (Exposition  Universelle). 

Chevalier  of  the  Legion  of  Honor,  1859. 

Member  of  the  Institute  of  France,  1876. 

Officer  of  the  Legion  of  Honor,  1876. 

Medal  of  Honor  (Exposition  Universelle),  1878. 

Knight  of  the  Order  of  Leopold,  1881. 

Grand  Medal  of  Honor,  Paris,  1885. 

Medal  of  Honor,  Antwerp,  1885. 

“One  day  in  1842  or  thereabouts  a veritable  riot  sprung  up  among  the 
students  of  the  Alaux  Art  School  at  Bordeaux.  It  was  occasioned  by  the 
award  of  the  prize  of  the  year  to  a young  shop-keeper’s  clerk  from  La- 
Rochelle, who  was  taking  daily  drawing  lessons  of  two  hours  each,  which 
his  employer  allowed  him  to  abstract  from  business.  The  students  had 
such  a contempt  for  the  young  shopman  that  they  resented  with  violence 
the  fact  that  he  should  win  the  honor  of  the  school.  But  Bouguereau  received 
the  prize  in  spite  of  their  protests,  and  it  decided  his  career.  He  determined 
to  become  an  artist.  His  family  objected.  He  threw  up  his  employment  at 
the  shop,  and  went  penniless  to  live  with  his  uncle,  who  was  a priest  at 


INDEX  AND  BIOGRAPHICAL  NOTES. 


35 


Sintonge.  While  there,  by  painting  portraits  of  the  townspeople  for  a few 
francs  each,  out  of  his  earnings  he  saved  900  francs,  on  which  he  proceeded 
to  Paris,  entered  the  studio  of  Picot,  and  secured  admission  to  the  Ecole 
des  Beaux-Arts  in  1843,  at  the  age  of  eighteen  years.  He  lived  by  incredible 
shifts,  finally  receiving  some  small  assistance  from  his  family,  until,  in  1850, 
he  won  the  Prix  de  Rome.  For  four  years  he  was  a pensioner  and  student 
in  that  city,  and  he  returned  to  Paris  an  artist  competent  to  the  execution 
of  great  works.  Public  commission  and  private  patronage  soon  laid  the 
foundation  of  his  fortune.  In  the  face  of  the  reaction  against  classcism,  he 
remains  a classicist,  but  his  technical  knowledge  is  so  profound,  his  skill  so 
masterly,  and  his  art  so  powerful  in  its  intellectual  vitality,  that  he  is  able 
to  hold  his  own  against  the  strongest  rush  of  the  naturalistic  tide,  that 
would  sweep  feebler  men  before  it.  He  is  personally  an  interesting  man, 
with  a rigid  adherence  to  his  artistic  beliefs,  an  iron  resolution  and  indomit- 
able will.  One  of  the  bitterest  critical  battles  of  our  time  has  been  fought 
over  him,  but  it  has  not  swerved  him  one  hair’s  breadth  from  the  position 
he  has  assumed,  and  has  rather  added  to  than  imparted  his  name.” 

— Extracts  from  Notes  sur  les  Cent  Chef s-d’ Oeuvres,  by  M.  A.  Wolff. 


No.  23 — “April  Showers.” 

36x46^4. 

Two  young  peasant  girls,  having  been  overtaken  in  an  open  field  by  a 
light  summer  shower,  have  seated  themselves  on  the  ground,  while  the 
elder  girl  has  turned  her  blue  skirt  up  over  her  head  and  that  of  her  com- 
panion, as  a means  of  protection  from  the  rain  drops.  From  beneath  this 
hastily  improvised  covering,  peer  out  faces  that  only  this  artist  can  paint, 
and  a pair  of  eyes  that  look  straight  at  you  in  all  their  earnestness  and 
reality. 

Dr.  Tuttle,  for  many  years  pastor  of  the  Church  of  the  Redeemer, 
says  : 

“I  am  familiar  with  the  finest  paintings  in  the  great  galleries  of  Europe. 
I have  spent  many  hours  and  days  in  looking  them  over.  I regard  this 
picture  as  the  finest  painting  I ever  saw.  I do  not  know  of  any  painting 
of  old  or  modern  masters  that  I regard  as  fine  and  beautiful  as  this  one.” 


BOUTS  (Dierick). 

Also  known  as  Dirk  Van  Haarlem  and  Dierick  de  Louvain. 

Born  at  Haarlem  about  1410-20. 

Died  at  Louvain,  May  6,  1475. 

Flemish  School. 

Settled  in  Louvain  after  1450. 

“History  painter  of  great  merit  of  the  Van  Dyck  school,  in  which  he 
is  almost  unequalled  in  glowing  depth  and  transparent  clearness  of  coloring.” 

— Cyclopedia  of  Painters  and  Paintings. 


36 


T.  B.  WALKER  COLLECTION. 


No.  24 — “The  Three  Wise  Virgins.” 

46x3% 

From  the  collection  of  Paul  Metsu  Bruges,  Belgium. 

“They  that  were  foolish  took  their  lamps  and  took  no  oil  with  them; 
but  the  wise  took  oil  in  their  vessels  with  their  lamps.  While  the  bride- 
groom tarried  they  all  slumbered  and  slept,  and  at  midnight  there  was  a cry 
made:  ‘Behold  the  bridegroom  cometh;  go  ye  out  to  meet  him.’  Then  all 

those  virgins  arose  and  trimmed  their  lamps.  And  the  foolish  said  unto  the 

wise:  ‘Give  us  of  your  oil,  for  our  lamps  are  gone  out/  But  the  wise 

answered  saying:  ‘Not  so;  go  ye  rather  to  them  that  sell,  and  buy  for  your- 
selves/ And  while  they  went  to  buy,  the  bridegroom  came,  and  they  that 

were  ready,  went  in  with  him  to  the  marriage  and  the  door  was  locked.” 
(Matthew  XXV.  3-10.) 

The  figures  are  painted  on  a hardwood  panel  with  a background  re- 
sembling Verna-marten.  The  drapery  of  the  three  figures  is  elegantly  drawn 
and  pleasingingly  colored;  the  faces,  artistic  with  a transparency  seldom 
equalled.  The  one  in  the  ga/b  of  a Sister  of  Mercy,  holds  a large  lamp. 
The  one  on  the  right  wears  a crown  and  holds  a book  in  her  hands.  The 
center  figure  stands  in  the  attitude  of  prayer,  while  the  head  of  each  is 
surrounded  by  a halo. 

BRUEGHEL  (Ambrose). 

Flemish  School. 

Born  about  1617.  Died  about  1675. 

“A  flower  painter  and  from  1653  to  1670  director  of  the  Academy  at 
Antwerp.  Pictures  by  him  are  at  Vienna,  Cologne  and  Christiana.” 

— Painters  and  Engravers.  ( Page  204.) 

No.  25 — “A  Summer  Bouquet.” 

20^x14^. 

Here  we  have  grand  chrysanthemums,  “The  King  of  Flowers”  and  an 
emblem  of  love  and  friendship  in  the  Orient,  and  beautiful  roses,  which  hold 
about  the  same  exalted  position  among  Caucasian  races,  elegantly  grouped 
v/ith  a variety  of  other  flowers  of  less  importance,  but  each  being  endowed 
by  nature  with  its  own  peculiar  beauty.  Brueghel  was  the  greatest  flower 
painter  of  the  Seventeenth  Century,  and  the  only  consistent  criticism  would 
be  that  they  are  lacking  in  fragrance. 

BRUEGHEL  (Pieter,  the  elder). 

Called  Boeren  Brueghel  (Peasant  Brueghel). 

Flemish  School. 

Born  in  the  village  of  Brueghel  near  Breda,  1530.  Died  at  Brussels  in  1569. 

Pupil  of  Pieter  Coucke.  Member  of  the  Guild  at  Antwerp,  1551. 

“He  was  a son  of  a peasant  and  was  instructed  in  painting  by  Pieter 
Coucke,  but  he  seems  to  have  paid  more  attention  to  the  eccentricities  of 
Jerome  Bosch  than  to  the  works  of  his  instructor.  * * * Traveled  in 

France  and  Italy,  devoting  particular  study  to  the  wildest  and  most  romantic 
parts  of  the  Alps.  On  his  return  to  Flanders  in  1553,  he  settled  for  a time  at 
Antwerp  where  his  works  met  with  much  admiration.  * * * His  best  pic- 


INDEX  AND  BIOGRAPHICAL  NOTES. 


37 


tures  represent  village  feasts  and  merry  makings,  and  it  is  said  he  often  di?. 
guised  himself  as  a boor  to  mix  in  those  rural  amusements  to  observe  with 
more  accuracy  their  various  characters  which  he  personified  with  great  humor 
and  pleasantry.  He  also  painted  attacks  of  bandits  in  wild  landscapes, 
gypsies  telling  fortunes  and  other  drolleries."  — Painters  and  Engravers. 

— Cyclopedia  of  Painters  and  Paintings. 

“He  was  of  a very  gay  and  sociable  nature  and  his  best  pictures  are  those 
representing  village  feastings  and  droll  subjects.  He  was  thus  the  predecessor 
of  David  Teniers  and  his  celebrated  son.” 

“Painted  chiefly  scenes  from  peasant  life,  which  he  treated  from  a 
realistic  and  humorous  point  of  view  not  always  avoiding  coarseness;  also 
some  scriptural  subjects  and  ghost  and  incantation  scenes  in  the  manner  of 
Bosch.”  — Painters  and  Their  Works. 

No.  26 — “Wild  Beasts  and  Their  Prey.” 

26^x23. 

From  the  collection  of  Lord  Buckland. 

Within  the  deep  shadows  of  the  forest,  two  leopards  have  waylaid  and 
killed  a fine  bull  moose.  A great  male  lion  makes  a daring  attempt  to  rob 
them  of  their  prey,  while  the  female  leopard  crouches  upon  a rock  at  a safe 
distance  awaiting  the  outcome  of  the  impending  conflict.  One  of  the  male 
leopards  stands  defiantly  over  the  coveted  prize,  the  other,  standing  erect, 
awaits  with  apprehension  the  attack  of  the  powerful  foe.  The  wierd  scene 
was  no  doubt  conceived  by  the  artist  from  some  one  of  his  favorite  sketches 
made  in  the  wildest  recesses  of  the  romantic  Alps.  Like  all  of  Peasant 
Brueghel’s  work,  the  painting  is  filled  with  animate  life  and  executed  in  his 
usual  vigorous  manner. 

CARPENTIER  (Adrien). 

Portrait  Painter. 

Born  in  Switzerland.  Came  to  London  about  the  year  1760,  and  settled  there 
in  the  practice  of  his  profession. 

“In  1763,  he  was  a member  of  the  Free  Society  of  Artists,  and  was  a 
constant  exhibitor  at  the  Spring  Gardens  Exhibitions.  From  1770  to  1774 
he  sent  portraits  and  portrait  groups  to  the  Academy  Exhibitions.” 

— Redgrave's  Dictionary  of  Artists  of  the  English  School. 

“One  of  his  best  productions  was  a half-length  portrait  of  Roubiliac  the 
sculptor,  from  which  there  are  two  engravings,  one  in  mezzotinto  by  Martin 
and  the  other  in  line  by  Chambers.  He  died  about  1774.” 

— Pilkington’s  Dictionary  of  Painters. 

No.  27 — “Portrait  of  Mrs.  Hammond.” 

30x24. 

From  the  sale  of  the  effects  of  James  Hammond,  London. 

Mrs.  Hammond  was  the  wife  of  James  Hammond,  M.  P.,  an  English 
poet  and  statesman.  He  was  equerry  to  the  Prince  of  Wales  and  took  his 
seat  in  parliament  in  1741.  He  wrote  “Loves  Elegies”  partly  translated  or 
imitated  from  Tibullis. 


38 


T.  B.  WALKER  COLLECTION. 


CEDERSTROM  (Thure  von,  Baron). 

Born  at  Smaland,  Sweden,  1843. 

Pupil  of  Dusseldorf  Academy  and  Weimar  Art  School. 

Medal  at  London  in  1879. 

“Best  known  by  pictures  dealing  mostly  with  monks,  in  the  fashion  of 
Gurtzner  and  Vibert.”  — Art  and  Artists  of  Our  Time. 

No.  28 — “Monks  Preparing  Breakfast.” 

20x15. 

From  the  Geo.  I.  Seney  collection. 

The  good-natured  side  of  monastic  life.  Two  portly  monks,  one  grinding 
coffee,  the  other  on  his  knees  blowing  the  fire.  Cheeks  distended  and  face 
red  from  the  reflection  and  heat  of  the  coals,  he  forms  an  amusing  picture 
to  his  more  fortunate  companion,  who  looks  on  with  a good-natured  smile. 


CRAIG  (Thomas  Rutherford,  A.  N.  A.). 

American  School. 

Born  at  Philadelphia,  Feb.  14,  1849. 
Seif  taught 

Specialty — Landscapes  with  cattle. 


No.  29 — “Breaking  Up  of  a Shower.” 

19^x29^. 

The  rain  has  ceased,  and  through  rifts  in  the  clouds,  the  sun's  rays  seem 
ready  to  break  through  and  dispel  the  gloom.  In  the  distance  the  receding 
cloud  takes  on  a darker  tone,  by  reason  of  the  reflected  light,  but  even  in 
this  quarter  there  are  indications  of  the  breaking  up  of  the  shower.  Three 
cows  coming  from  the  shelter  of  a friendly  wood,  regale  themselves  upon 
the  tender  grass  still  wet  from  the  recent  rain.  Beyond  the  pasture,  stands 
the  rustic  home  of  the  farmer,  all  but  hid  from  view  by  the  overhanging 
trees.  The  artist  has  chosen  a difficult,  but  interesting,  subject  and  in  both 
design  and  color,  has  demonstrated  his  ability  as  a landscape  painter. 


CAZIN  (Jean  Charles). 

Born  at  Samer,  in  Picardy,  1840.  Died  in  Paris,  1900. 

Pupil  of  Lecoq  de  Boisbandrau. 

Won  medals  at  Salon  in  1876,  1877  and  1880. 

Legion  of  Honor  in  1882. 

“M.  Jean  Charles  Cazin  is  one  of  the  most  original  and  fascinating  per- 
sonalities in  contemporary  French  art.  For  this  man  painting  is  not  a mere 


INDEX  AND  BIOGRAPHICAL  NOTES. 


39 


commerce,  but  an  inspiration.  He  dominates  nature,  and  manifests  in  har- 
monious creations  the  enthusiasm,  the  passion,  the  melancholy,  the  thousand 
shades  of  joy  or  grief,  which  he  feels.” 

— Theodore  Child,  in  Harper’s  Magazine. 

No.  30 — “The  Deserted  Homestead.” 

10^x15^. 

Along  the  winding  roadway,  the  neglected  fence  fast  falling  to  decay 
is  all  but  hidden  by  the  growth  of  hazel  brush  and  locust.  In  the  midst  of 
the  undergrowth,  a stately  apple  tree  spreads  its  branches  supplying  the 
weary  traveler  with  fruit  in  its  season.  In  the  distance  are  the  remains  of 
the  old  home  which  once  rang  with  the  laughter  of  happy  children  but  is  now 
only  a sad  remembrance  of  bygone  days  when  the  fire  glow  on  the  friendly 
hearth  bid  welcome  to  father  and  the  boys  as  they  returned  from  their  work 
in  the  fields. 

A well  chosen  subject  rendered  in  this  artist’s  usual  force  and  purity. 

No.  31 — “Old  Spanish  Ruins  at  Flanders.” 

20x27. 

From  the  collection  of  Monsieur  Mathieu,  Bordeaux. 

Flanders  was  an  ancient  countship  of  the  Low  Countries  which  has  left 
its  name  to  two  provinces  in  the  modern  kingdom  of  Belgium,  distinguished 
as  east  and  west.  It  took  its  rise  in  the  time  of  Charles  The  Great.  In  1385, 
the  male  line  of  counts  became  extinct  and  the  country  passed  to  the  Dukes 
of  Burgundy.  In  1477,  by  the  marriage  of  Mary  of  Burgundy  to  Archduke 
Maximilian,  son  of  Emperor  Frederick  IV.,  the  county  including  what  is  now 
Belgium  and  parts  of  Netherlands  and  France  passed  to  the  house  of 
Austria.  In  1494,  Maximilian  resigned  the  rule  to  his  son,  Philip,  who  in 
1496  married  Joanna,  daughter  of  Ferdinand  and  Isabella  of  Spain.  Philip 
died  in  1506  and  was  succeeded  by  his  son  who  afterwards  became  Charles  V., 
who  in  turn  was  succeeded  by  his  son,  Philip  II.  of  Spain.  In  the  wars 
between  Spain,  and  Holland  and  France,  the  western  coast  of  Belgium — 
Flanders — was  the  first  point  of  attack  by  the  two  latter  countries  and  it  was 
at  this  time  (about  1657-8)  the  fortress  here  shown  was  reduced  to  ruins. 

The  colors  are  slightly  different  from  Cazin’s  usual  tones.  The  reflec- 
tions in  the  water  and  the  cloud  effects  are  especially  fine. 

No.  32 — “Castle  by  Moonlight.” 

2054x28. 

Painted  by  Cazin  for  Mr.  Irving  R.  Davis  from  whose  collection  it  comes. 

In  the  foreground,  the  lake,  calm  and  glassy,  mirrors  back  the  varied 
colors  of  the  fleecy  clouds.  The  great  castle  lying  just  back  of  the  wooded 
shore  is  lit  up  by  the  mellow  light  of  the  half  hidden  moon.  Far  in  the 
gloaming,  friendly  lights  peep  out  here  and  there,  marking  some  humble 
abode,  while  to  the  right  a village  hamlet  lies,  bathed  in  the  soft  light  reflected 


40 


T.  B.  WALKER  COLLECTION. 


from  the  moonlit  sky.  Low  down,  the  horizon,  the  clouds  are  dark  and 
threatening  and  over  all  an  ominous  stillness  prevails. 

A marked  painting  and  one  justly  characteristic  of  this  noted  artist. 


No.  33 — ‘‘Fisherman’s  Home  on  the  Coast  of  Brittany.” 

2414x31. 

This  scene  is  among  the  low  sand  dunes  that  skirt  the  Brittany  coast. 
The  dull  beach  grass  looks  gray  in  the  deepening  twilight,  and  the  twinkling 
stars  overhead  are  brightening  in  the  evening  sky.  In  the  center  stands  the 
low-roofed  cottage,  and  on  the  right  a boat  lies  overturned  among  the  weeds. 
From  the  window  of  the  cottage  shines  the  ruddy  light  of  lamp  and  fire.  Far 
away  over  the  low  hills  the  steady  rays  of  the  distant  lighthouses  may 
be  seen. 

No.  34 — “The  Church  of  St.  Wolf  ran  at  Abbeville.” 

22x27. 

From  Sedelmeyer,  Paris. 

Abbeville  is  a city  of  France,  on  the  Somme  river,  12  miles  from  its 
mouth  in  the  English  Channel,  and  25  miles  northwest  of  Amiens.  The  most 
remarkable  edifice  is  the  church  of  St.  Wolfran,  which  was  erected  in  the 
time  of  Louis  XII.  Although  the  original  design  was  not  completed, 
enough  was  built  to  give  a good  idea  of  the  splendid  structure  it  was  intended 
to  erect.  The  facade  is  a magnificent  specimen  of  the  flamboyant  Gothic 
style,  and  is  adorned  by  rich  tracery,  while  the  western  front  is  flanked  by 
two  Gothic  towers. 


No.  35 — “A  Normandy  Farm  Scene.” 

20x24. 

A hazy  evening  scene.  The  crops  on  the  right  harvested,  and  the  grain 
in  the  shock.  The  fields  of  yellow  grain  to  the  left  of  the  center,  and  to  the 
right  of  the  center  the  stacks  of  grain,  with  the  farm  house  and  buildings  still 
farther  to  the  right.  The  sky  is  hazy,  and  with  a misty  cloud  effect  that  in  a 
large  part  obscures  the  sun,  and  makes  the  peculiar  impression  and  apparently 
lonesome  feeling  that  Cazin  brings  into  so  many  of  his  most  attractive 
pictures.  The  coloring  is  somewhat  weird,  but  soft  and  harmonious. 


No.  36 — “A  Farm  Scene.” 

16x19. 

Another  misty,  lonesome  evening  scene,  with  a clump  of  trees  and  a 
stack  of  hay  to  the  right  of  the  center;  the  pale,  bright  moon  throwing  a 
soft  light  over  the  level  landscape,  with  three  lonesome  clouds  floating 
in  the  upper  center  of  the  picture.  The  land  is  divided  into  garden  patches 
so  commonly  found  in  the  rich  valleys  of  France,  where  each  proprietor 


INDEX  AND  BIOGRAPHICAL  NOTES. 


41 


or  tenant  has  his  little  patch  of  a few  acres.  These  cultivators  live  in  the 
small  villages  in  the  neighborhood,  sometimes  going  several  miles  to  do  their 
farming,  generally  living,  not  on  the  land,  but  at  some  distance  in  the  little 
cluster  of  houses  comprising  the  village.  The  trees  and  vegetation  are 
sott,  and  with  the  peculiar  color  effects  produced  only  by  him. 

No.  37 — “The  Fisherman’s  Home. 

26x34. 

This  picture  possesses  the  usual  qualities  of  Cazin  in  which  he,  more 
than  any  other  artist,  except  perhaps  Harpignies  and  Millet,  bring  an  im- 
pression or  scene  of  sadness  and  lonesomeness  beyond  that  of  other  artists. 
His  paintings  have  come  to  be  highly  prized  and  high  in  price. 

A fisherman's  cabin  on  the  sea  shore;  an  old-fashioned,  long-armed 
windmill;  the  housewife  carrying  a bundle  of  hay  to  the  cow  or  goats;  some 
fisherman’s  boats  out  on  the  open  sea;  the  sky  as  well  as  the  land  and  sea 
weirdly  but  beautifully  colored,  makes  this  one  of  the  finest  examples  of 
modern  art. 

No.  38 — “A  Pastoral  Scene  in  Brittany.” 

26x31. 

Another  characteristic  home  life  scene  among  the  peasant  farmers  of 
Brittany.  The  farmer,  with  his  pick  across  his  shoulder,  calling  to  his  wife 
who  is  sitting  on  the  grass  with  a child  in  her  arms,  that  it  is  time  to  return 
to  their  little  home  that  is  beyond  the  church  with  its  tiled  roof  and  belfry. 
The  soft  foliage  of  the  grass,  the  shrubbery  and  the  tree,  and  the  tinted, 
soft  brown  gray  sky,  altogether  making  up  one  of  the  finest,  softest  and 
most  important  of  all  the  paintings  that  Cazin  has  ever  produced. 

No.  39— “Windmills  In  Holland.” 

25x31. 

The  scene  is  near  Zaandam  about  five  miles  northwest  of  Amsterdam. 
Nowhere  else  in  Holland  are  there  so  many  windmills  as  at  Zaandam  and 
in  the  immediate  vicinity.  These  quaint  old  mills  are  employed  in  the  va- 
ried branches  of  industry,  grinding  corn,  crushing  oil  bearing  seeds,  sawing 
timber,  and  many  other  kinds  of  work.  Two  mills  in  close  proximity  are 
shown  in  the  painting,  besides  many  other  buildings  in  the  adjoining  coun- 
tryside. In  the  foreground  a fence  almost  hidden  by  large  flowering  shrubs, 
separates  one  field  from  the  other.  The  time  is  mid-afternoon,  and  al- 
though the  clouds  are  dark  and  threatening,  the  sun’s  rays  break  through, 
lending  glory  to  the  picturesque  landscape,  and  an  added  charm  to  one  of 
Cazin’s  most  pleasing  pictures. 

No.  40 — Moonlight.” 

21x25. 

In  the  pale  moonlight,  of  an  autumn  night, 

As  we  walk  the  village  street, 

Lights  from  the  Inn  speak  of  cheer  within, 

To  the  strains  of  music  sweet. 

All  else  is  still,  save  the  whip-poor-will, 

Which  sings  in  the  distant  trees; 


42 


T.  B.  WALKER  COLLECTION. 


And  the  crickets  cheep  in  the  grasses  deep. 

As  it  softly  nods  in  the  breeze. 

While  like  a band,  quaint  buildings  stand, 

As  phantoms  by  the  way; 

Through  the  silver  sheen  of  the  cloud  is  seen 
The  moonlight’s  mellow  ray. 

A study  of  a group  of  Jean  Cazin’s  works  will  aptly  bear  out  Mr. 
Child’s  observation,  that  each  painting  manifests  some  particular  passion, 
the  endless  shades  of  joy,  and  the  somber  tones  of  grief  and  melancholy. 
Yet  it  is  difficult  to  determine  which  is  the  more  charming  as  his  fascinating 
personality  is  plainly  evident  in  all  his  varied  works. 


CIPRIANI  (Gio  Battista). 

Born  at  Florence  in  1732. 

Died  in  1785. 

Was  one  of  the  first  members  of  the  Royal  Academy,  founded  in  1768. 

“His  drawing  is  correct,  his  coloring  harmonious,  his  heads  possess 
grace  and  loveliness.”  — Mrs.  Shedd’s  Famous  Painters  and  Paintings. 

“The  fertility  of  his  invention,  the  graces  of  his  composition,  and  the 
seductive  elegance  of  his  forms  are  only  surpassed  by  the  probity  of  his 
character,  the  simplicity  of  his  manners,  and  the  benevolence  of  his  heart.” 

— Fuseli.  Quoted  by  Mrs.  Shedd . 

“He  went  to  Rome  in  1750,  where  he  remained  a few  years,  and  then 
visited  England,  whither  his  reputation  had  preceded  him.  At  this  period 
the  engraver  Bartolozzi  was  in  his  prime,  and  the  union  of  their  respective 
talents  produced  many  works  of  rare  excellence. 

“His  forms  were  attractive  and  elegant,  his  composition  graceful,  and 
his  invention  abundant.”  — Spooner's  History  of  Fine  Arts. 

“This  celebrated  artist  is  justly  claimed  by  the  English  school,  not 
only  from  his  long  residence  in  London,  but  from  his  education. 

“Some  of  the  few  pictures  he  left  are  at  the  seat  of  Coke  at  Holkham, 
and  four  in  the  ceiling  of  the  library  of  the  Royal  Academy.’ 

— Pilkington’s  Dictionary  of  Artists. 

“His  art  is  to  be  found  in  his  drawings,  full  of  graceful  invention  and 
fancy;  his  females  exquisitely  elegant,  his  children  unrivaled.  Fuseli  praises 
his  invention,  his  graceful  compositions  and  elegant  forms,  and  also  his 
simple  manners  and  unaffected  benevolence.  The  English  school  is  indebted 
to  him  for  the  improved  drawing  of  the  figure  and  more  correct  taste.  He 
painted  the  allegorical  designs  on  the  panels  of  the  new  stage-coach  first  used 
by  George  III.  in  November,  1762,  and  still  used  by  our  sovereign.  Designed 
the  diploma  for  the  Royal  Academy  in  1768.” 

— Redgrave's  Dictionary  of  Artists  of  the  English  School. 

No.  41 — '‘The  Assumption  of  the  Virgin.” 

24x32. 

This  painting  was  originally  intended  as  a design  for  the  dome  of  some 
large  cathedral.  In  the  center  is  the  Virgin  Mary,  drifting  upward  through 


INDEX  AND  BIOGRAPHICAL  NOTES. 


43 


the  clouds,  with  the  angels  to  the  side  and  beneath.  The  light,  fleecy  raiment 
in  which  the  Virgin  is  clothed  is  soft  in  tone,  and  blends  off  with  the  clouds. 
On  the  right  sits  Peter,  drifting  off  in  a chariot,  and  on  the  left  is  St.  John, 
with  numerous  angels  in  the  clouds  above  and  between  them  and  the  Virgin. 
The  picture  is  delicate  and  finely  drawn  and  colored,  and  very  soft  in  tone. 
Cipriani  painted  but  few  small  pictures.  This  one  was  from  the  collection  of 
Lord  Jersey,  formerly  one  of  the  finest  private  galleries  in  Europe. 


CANO  (Alonso). 

Born  in  Granada,  March  19.  1601. 

Died  there  Oct.  3,  1667. 

“In  1637  Alonso  Cano  had  obtained  the  position  of  the  first  artist  of 
Seville.  Considered  as  a painter,  Alonso  Cano  was  superior  to  many  of  his 
rivals  in  drawing  and  in  richness  and  in  variety  of  coloring,  and  his  compo- 
sitions are  simple  and  pleasing.”  — Painters  and  Their  Works. 

“He  was  a painter,  sculptor,  and  architect,  whence  sometimes  called 
the  Spanish  Michelangelo.”  — Cyclopedia  of  Painters  and  Paintings. 

“An  eminent  Spanish  painter,  sculptor  and  architect,  who  has  been 
called  the  ‘Michelangelo  of  Spain/  for  his  great  excellence  in  the  three  sister 
arts.  * * * He  afterwards  studied  under  Juan  del  Castillo,  one  of  the  most 

eminent  painters  in  Spain,  and  executed  many  works  for  the  public  places  of 
Seville,  which  were  greatly  admired,  and  were  considered  astonishing  per- 
formances for  a student  under  twenty  years  of  age.  * * * In  his  after 

years  he  produced  many  admirable  compositions.  His  works  are  to  be  found 
in  all  the  principal  churches  and  convents  of  Cordova,  Madrid,  Granada, 
Seville,  etc.  * * * There  are  also  many  excellent  works  by  Cano  at  the 

Imperial  College  and  other  public  situations  at  Madrid,  which  rank  him 
among  the  greatest  Spanish  painters.” 

— Spooner’s  Dictionary  of  the  Fine  Arts. 

“This  celebrated  Spanish  artist  has  been  called,  with  some  propriety, 
the  ‘Michelangelo  of  Spain/  He  distinguished  himself  as  a painter,  sculptor 
and  architect,  in  all  of  which  branches  he  excelled,  and  it  is  easy  to  determine 
in  which  he  was  most  conspicuous.  * * * He  produced  many  admirable 

compositions.  In  the  Church  of  Santa  Maria  at  Madrid  is  a celebrated 
picture  by  him,  representing  a subject  from  the  life  of  S.  Isidoro;  a Saint 
Francis,  m Santiago;  and  in  San  Miguel,  two  pictures  of  S.  Caterina  and 
San  Joseph.  Many  other  excellent  works  by  this  painter  are  to  be  seen  in 
the  Imperial  College  and  other  public  situations  in  Madrid,  which  sufficiently 
establish  his  fame  as  one  of  the  greatest  painters  of  his  country.  The 
numerous  monuments  of  his  ability  as  a sculptor  and  an  architect  are  not 
noticed,  as  beyond  the  limit  of  this  publication.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“In  Mr.  Fuseli’s  opinion,  Cano  excelled  as  a painter,  with  the  single 
exception  of  Valasquez,  all  contemporaries,  and  yet  seems  to  have  owed 
his  superiority  entirely  to  nature.  His  design  is  correct,  his  arrangement 
happy,  and  his  color  charming.  As  a sculptor,  he  gives  evident  proofs  of 
having  studied  the  antique,  by  the  dignity  of  his  forms,  the  grandeur  of  his 
drapery,  and  elegance  of  taste.”.  — Pilkington’s  Dictionary  of  Painters. 


44 


T.  B.  WALKER  COLLECTION. 


“One  of  the  most  vigorous  of  the  Spanish  painters,  and  also,  like 
Michelangelo,  with  whom  he  is  usually  compared,  an  architect  and  sculptor 
of  great  merit.  He  has  left  in  Spain  a very  great  number  of  specimens  of 
his  genius,  which  display  the  boldness  of  his  design,  the  facility  of  his  pencil, 
and  the  purity  of  his  flesh-tints  and  his  knowledge  of  chiaro-scuro.” 

— Encyclopedia  Britannica. 

No.  42 — “Madonna  and  Child.’’ 

48x41. 

From  Manfrini  Collection  of  Venice. 

It  is  difficult  to  undertake  a description  of  this  splendid  painting,  except 
as  a whole,  as  the  figures  are  all  delicately  proportioned,  the  color  arrange- 
ment harmonious,  and  the  whole  composition  most  pleasing. 

The  sweet,  simple  face  of  the  woman  shows  in  a pronounced  manner 
the  divine  and  worshipful  love  of  the  mother,  but  the  great  strength  of  the 
picture  centers  in  the  infant.  The  forms  and  flesh  tints  are  as  natural  as  life, 
besides,  the  infantile  helplessness  of  form,  the  childlike  expression  of  the 
intelligent  face,  the  sweet  mouth  and  eyes,  make  up  one  of  the  most  success- 
ful child  pictures  of  any  of  the  great  masters. 


CONSTABLE  (John). 

Born  at  East  Bergholt,  Suffolk,  June  11,  1776. 

Died  in  London,  March  30,  1837. 

Landscape  painter;  pupil  of  Royal  Academy  in  1779,  and  later  of  Joseph 
Farrington  and  R.  R.  Reinagle. 

“While  there  are  many  landscape  painters  who  can  paint  nature  in  her 
tranquil  moods,  when  she  sits  motionless  as  a model,  there  are  but  few 
who,  like  Constable,  can  fix  upon  canvas  the  coming  storm,  the  rising  wind, 
and  the  rapidly  changing  sunset.  In  treating  masses  of  clouds  driving  across 
the  sky  or  brooding  over  the  tree  tops,  he  has  no  rival.” 

— Cyclopedia  of  Painters  and  Paintings. 

“The  peculiar  merit  and  novelty  in  Constable’s  works  cannot  be  ex- 
pressed better  than  in  the  words  used  by  Redgrave:  ‘Landscape  painters 

had  hitherto  usually  painted  with  the  sun  at  their  backs,  to  the  right  or 
to  the  left,  out  of  a picture,’  and  ‘many  had  painted  the  sun  in  the  picture 
gradually  sinking  in  the  low  horizon.  But  Constable  chose  the  time  when 
the  sun  was  high  in  the  heavens,  far  above,  out  of  his  canvas,  but  still  in 
front  of  him,  and  painted  almost  always  under  the  sun  and  much  that  is 
peculiar  in  his  art  arose  from  this  cause.”  — Painters  and  Their  Works. 

"Constable  was  exclusively  a landscape  painter,  depicting  nature  in 
her  grand  and  angry  moments,  and  one  to  whom  our  modern  school  of 
landscape  painting  is  greatly  indebted.  In  color,  he  helped  eliminate  the 
brown  landscape  and  substituted  in  its  place  the  green  and  blue  of  nature. 
His  influence  upon  art  was  impressive,  eventually  developing  the  famous 
Barbizon  scb-W.” 

— (Chas.  r*  Pratt,  Art  Critic,  Alaska- Yukon  Exposition,  Seattle,  1909.) 


INDEX  AND  BIOGRAPHICAL  NOTES. 


45 


“The  Constable  family  came  from  Yorkshire.  His  father,  Golding  Con- 
stable, inherited  considerable  property,  including  the  watermill  at  Flatford; 
and  he  purchased  also  a watermill  at  Dedham  and  two  windmills  near 
East  Bergholt.  At  the  last  named  place,  he  built  a house  to  which  he 
removed  in  1774.  He  married  Miss  Anna  Watts  and  they  had  three  sons 
and  three  daughters.  John,  the  second  son,  was  born  June  11,  1776.  Al- 
though he  was  baptised,  the  same  day,  as  he  was  not  expected  to  live,  yet 
he  grew  up  to  be  a man  of  great  personal  strength  and  was  known  as  ‘The 
Handsome  Miller.’  * * * During  this  time  (1800  to  1816),  although  he 
continued  to  paint  portraits  for  profit,  Constable,  in  pursuing  his  favorite 
style  of  art,  was  advancing  to  the  first  rank  as  a landscape  painter,  yet 
many  of  his  works  had  remained  unsold.  * * * He  himself  explained 

the  reasons  when  writing:  ‘My  great  art  flatters  nobody  by  imitation,  it 

courts  nobody  by  smoothness,  tickles  nobody  by  petiteness,  it  is  without 
l.u-de-rol  or  fiddle-de-dee;  how  then  can  I hope  to  be  popular.’  * * * 

Lut  fame  at  last  came  from  a quarter  whence  it  was  least  expected;  a 
.( lencn  speculator  bought  three  of  his  pictures  at  the  Royal  Academy  * * * 
amid  sent  them  to  the  Paris  Salon  in  1824.  The  power  shown  in  them  caused 
them  to  be  much  admired,  and  the  King  of  France  awarded  Constable  a 
gold  medal.”  — Painters  and  Their  Works. 

No.  43 — “Lock  on  the  River  Stour”  (Masterpiece). 

41^x62%. 

CONSTABLE’S  MASTERPIECE. 

From  the  collection  of  General  Bulwer,  Hayden  Hall. 

One  of  the  largest  and  by  all  odds  the  most  important  of  Constable’s 
works.  In  the  foreground,  a lock  is  being  opened  for  the  passage  of  a 
boat  on  its  way  down  the  Stour  River  in  England.  The  water,  as  it  seeks 
release  under  the  heavy  gate,  eddies  and  foams  like  a boiling  caldron.  While 
the  boat  is  being  lowered  for  passage  through  the  lock,  the  old  horse  takes 
a needed  rest  on  the  tow  path,  beneath  the  branches  of  a spreading  elm. 
Just  beyond,  almost  hidden  by  trees  and  shrubbery,  is  the  artist  home  of 
John  Constable.  It  was  here  that  he  did  his  greatest  work,  and  near  here 
at  Hampstead, — “My  dear  Plampstead,  my  sweet  Hampstead,”  as  he  was  wont 
to  call  it — he  was  buried.  On  the  left  is  a small  hamlet  with  its  quaint  old 
church  tower,  standing  sentry-like  on  the  border  of  the  broad,  wooded 
meadows  which  stretch  away  until  lost  to  view  under  the  pall  of  the 
ominous  clouds  overhead. 

Constable  intended  this  painting  to  be  hung  in  the  National  Gallery, 
but  General  Bulwer  and  his  wife  finally  offered  him  a price  so  fabulous  as 
to  induce  him  to  part  with  it. 

No.  4 4 — “Constable’s  Artist  Home  on  the  River  Stour.” 

13*4x17. 

From  the  collection  of  General  Bulwer,  Hayden  Hall. 

This  little  gem  is  a portrayal  of  the  same  lock  on  the  Stour,  taken 
from  a different  point  of  view.  On  the  left,  the  tow  path  crosses  the  high- 
way at  the  end  of  the  rustic  bridge  which  spans  the  river.  In  the  fore- 


46 


T.  B.  WALKER  COLLECTION. 


ground  is  the  old  lock  closed,  while  just  beyond  and  almost  hidden  by  over- 
hanging trees  is  the  artist  home  of  the  great  painter.  To  the  right  and 
far  beyond,  stretch  the  wooded  meadows,  while  massive  clouds  all  but 
obscure  the  deep  blue  of  the  summer  sky. 

While  not  so  important  as  others  of  his  work  in  this  collection,  it  is 
none  the  less  a perfect  example  of  this  wonderful  master. 


No.  45 — “Lockkeeper’s  Home  on  the  Stour.” 

34x41^4. 

From  the  collection  of  General  Bulwer,  Hayden  Hall. 

It  is  evident  that  Constable  found  in  the  quaint  scenery  of  this  vicinity 
not  only  his  greatest  inspiration,  but  material  for  his  best  paintings.  In 
fact,  his  masterpiece,  “Lock  on  the  River  Stour,”  was  painted  in  the  imme- 
diate neighborhood.  In  the  foreground  is  one  of  the  rustic  locks  and  two 
children  fishing  from  the  shore.  On  the  right  a grand  old  elm  spreads  its 
boughs,  casting  its  shadows  into  the  tranquil  stream.  On  the  left  is  a gnarled 
oak,  broken  and  bent  by  the  many  passing  storms,  while  near  the  end  of  the 
bridge  spanning  the  river  is  the  gatekeeper’s  modest  cottage.  To  the  left 
in  the  distance  stands  the  artist  home  of  John  Constable  almost  hidden  from 
view  by  overhanging  trees.  The  shadows  deepen  as  the  sun  dips  low  in 
the  west,  obscured  by  threatening  clouds. 


No.  46 — “Sherbourne  Collegiate  Church.” 

38x50 

From  the  collection  of  General  Bulwer,  Hayden  Hall. 

In  the  foreground  is  a shallow  channel  of  the  River  Stour.  The  shal- 
low rapids,  only  a short  distance  above  the  lock,  affords  a crossing  place 
for  the  farmer  folk  of  the  vicinity.  A rustic  wagon  drawn  by  two  horses 
is  crossing  the  ford,  while  two  cows  from  the  adjoining  meadows  disport 
themselves  near  the  opposite  shore.  On  the  left,  half  hidden  by  the  spread- 
ing boughs  of  great  el rr:z,  stands  the  artist  home  of  the  great  painter.  Heavy 
clouds  o’rspread  die  sky,  while  on  the  horizon  the  setting  sun  casts  a pale 
blush  over  the  surroundmg  landscape. 

The  odor  from  the  new  mown  hay, 

Comes  to  the  boy  and  dog  at  play; 

While  the  old  canoe  with  silent  oar, 

Lies  idle  on  the  reed-grown  shore. 


No.  47— “Hampstead  Heath.” 

23x37. 

From  the  collection  of  Trevanyan  Turner,  London. 

In  1827  Constable  took  up  his/£bode  at  Hampstead,  “My  dear  Hamp- 
stead, my  sweet  Hampstead”  as  he  was  wont  to  call  it.  He  said,  “My 
little  studio  commands  a viervy  without  an  equal  in  all  Europe.”  Here 
he  loved  to  sketch,  and  the  neighborhood  furnished  him  with  many  studies 


INDEX  AND  BIOGRAPHICAL  NOTES. 


47 


for  his  pictures.  The  lists  of  the  various  sales  of  his  paintings  show  that 
he  painted  a number  of  pictures  entitled  “Hampstead  Heath/’  one  at  the 
“Barring’s  Sale”  fetching  $13,385.00.  It  is  evident  that  they  were  not 
replicas,  each  showing  some  different  landscape.  In  this  he  presents  a 
quaint  old  church  in  a corner  of  the  burial  ground,  partially  surrounded  by 
a rustic  fence.  The^cemetery  presents  a tumbled  down  and  much  neglected 
appearance.  On  the  left  of  the  small  valley  is  the  edge  of  the  woods,  while 
to  the  right  several  magnificent  trees  stand  in  close  proximity  to  the  church, 
their  great  branches  reaching  far  out  over  the  small  ravine,  very  nearly 
hiding  from  view  the  cottage  standing  in  the  shadow  of  the  distant  trees. 
The  great  white-capped  clouds  standing  out  against  the  blue  of  the  summer 
sky  form  a splendid  background  to  a very  interesting  painting. 

No.  48 — “The  Lock” 

27x40. 

From  an  old  English  Collection. 

A canal  boat  has  just  passed  the  lock,  and  is  bound  on  its  way  up  the 
canal.  The  lock  is  not  yet  entirely  closed.  Just  beyond  in  the  shadow 
of  some  splendid  trees  is  the  home  of  the  lock  keeper.  Two  men  are  seen 
fishing  from  a skiff  on  the  opposite  shore,  while  a boy  and  a girl  on  the 
tow  path  are  also  preparing  to  fish  from  the  shore.  A strong  wind  ruffles 
the  water  in  the  canal,  and  sways  the  trees  and  grasses  on  the  shore.  The 
colors  are  strong  and  harmonious  and  the  lights  and  shadows  extremely  fine 
and  striking.  One  of  the  finest  paintings  by  this  foremost  of  the  English 
landscape  painters. 


No.  49 — “Constable’s  Artist  Home  on  the  River  Stour.” 

28x3 3J*. 

From  sale  of  Constable’s  paintings  in  1838. 

In  1818  Constable  painted  his  first  rainbow  in  connection  with  a view 
of  Salisbury  Cathedral,  but  this  one,  with  Sherborne  Collegiate  Church,  was 
painted,  no  doubt,  about  the  time  of  his  removal  to  Hampstead  Heath  (1827). 
Sherborne  is  an  ancient  market  town  of  Dorsetshire,  England,  situated  on 
a slope  overlooking  the  river  Yeo,  and  is  118  miles  southwest  from  London. 
In  705  A.  D.  Sherborne  was  made  the  seat  of  the  Bishopric  by  Ina,  king  of 
the  West  Saxons;  it  was  removed  in  1078  to  what  is  now  Salisbury,  but 
before  the  changing  of  the  seat  of  the  Bishopric,  a great  Benedictine  Abbey 
had  been  founded,  and  the  Abbey  or  Collegiate  Church  erected.  This  old 
church  was  restored  in  1848-58  at  an  expense  of  $160,000.  Sherborne  gram- 
mar school,  founded  in  1550,  by  Edward  VI,  now  occupies  the  ruins  of 
the  old  abbey.  The  painter  projects  the  old  church  and  the  beautiful  land- 
scape surrounding  against  a background  of  a departing  storm  cloud  across 
whose  sombre  face  is  set  the  bow  of  promise. 

No.  50 — “A  Bit  of  English  Landscape.” 

27^x36. 

The  fine  old  mansion  and  grounds  would  indicate  the  country  seat  and 
extensive  estate  of  some  noble  family.  Two  men  in  the  immediate  fore- 


48 


T.  B.  WALKER  COLLECTION. 


ground  are  loading  gravel  into  a quaint  old  cart,  while  the  sly  old  dog 
makes  a bed  of  their  discarded  coats.  Other  horses  and  men  are  seen  on 
the  winding  roadway,  and  a donkey  enjoying  his  holiday  by  the  pool  of 
clear  water,  beneath  the  spreading  branches  of  some  splendid  trees.  Be- 
yond a diversity  of  green  hills  and  wooded  valleys  stretch  away  to  a line 
of  hills,  barely  discernable  under  the  darkening  shadows  of  the  threaten- 
ing cloud.  A characteristic,  and  at  the  same  time,  a most  beautiful  example 
of  this  master’s  bold  style. 

COLE  (Thomas). 

Self  taught.  Born  at  Bolton  le  Moore  in  Lancashire,  Feb.  1,  1801. 

Died  at  Catskill,  N.  Y.,  Feb.  11,  1848. 

Landscape  Painter. 

“In  1819  his  father  emigrated  to  America  and  settled  in  Ohio,  where 
Thomas  first  learned  the  rudiments  of  art  from  a portrait  painter  named 
Stein.  After  studying  nature  under  great  difficulties,  he  went,  in  1825,  to 
New  York  and  was  first  brought  into  notice  by  his  views  on  the  Hudson. 
He  made  several  visits  to  England,  France  and  Italy,  but  passed  the  greater 
part  of  his  professional  life  in  New  York.  Exhibited  at  the  Royal  Academy, 
London,  “View  in  New  Hampshire,”  “Tomb  of  General  Brock”  (1830),  and 
“View  in  United  States”  (1831). 

Works:  “Dream  of  Arcadia,”  “Titian’s  Goblet,”  “Mount  Etna,”  “Italian 
Landscape,”  etc.  — Cyclopedia  of  Painters  and  Paintings. 

“Thomas  Cole  was  then  (1819)  about  eighteen  years  of  age,  and  his 
wish  to  become  a painter  increasing  daily,  he  suddenly  left  his  home  and 
with  difficulty  reached  Philadelphia  and  New  York,  where  he  started  paint- 
ing landscapes  in  a garret.  His  talents  soon  recommended  him  to  Trumbull 
and  other  older  artists,  and  he  met  with  some  wealthy  patrons  from  whom 
he  received  substantial  assistance.  They  enabled  him  to  visit  Italy  and 
England,  and  finally  settling  down  in  the  United  States,  he  was  a long  time 
the  best  landscape  painter  in  America.”  — Painters  and  Their  Works. 

“Cole  was  the  first  good  landscape  painter  in  America.” 

— Bryan's  Dictionary  of  Painters  and  Engravers. 

“We  trust  that  our  readers  will  require  no  urging  from  us  to  insure 
their  making  a visit  to  the  Art  Galleries  in  Broadway  when  the  Exhibition 
of  the  Artists’  Fund  Society  is  to  be  seen.  * * * Cole  who  was  unques- 

tionably the  father  of  American  landscape  art  is  represented  by  the  best 
picture  perhaps  he  ever  painted.”  — Evening  Post,  Nov.  18,  1863. 

“The  catalogue  contains  many  distinguished  names  prominent  among 
which  are  those  of  Rosa  Bonheur,  Thomas  Cole,  Gilbert  Stuart,  Alston, 
Fre're,  Conture,  Diaz,  and  others  of  less  note.  * * * The  Cole  and  Stuart 
will  be  greeted  with  pleasure  by  those  who  lived  when  these  great  artists 
flourished.”  — New  York  Times,  Nov.  18,  1863. 

No.  51 — “Italian  Landscape.” 

32^x48^. 

From  the  Robert  Hoe  Collection.  Signed  on  rock  in  lower  lefthand 
corner,  “T.  Cole,  1849.” 


INDEX  AND  BIOGRAPHICAL  NOTES. 


49 


This  splendid  painting  was  No.  191  of  the  Artists’  Fund  Society  exhibit 
on  Broadway,  New  York,  in  November,  1863,  and  the  critic’s  write-up  says: 
“It  glows  in  all  the  splendid  colors  of  Cole’s  best  manner.  It  is  a magnificent 
picture  and  one  of  the  best  of  this  great  master.” 

The  scene  is  the  quaint  ruins  of  an  ancient  castle  near  the  sea  coast  of 
Italy.  The  stone  arch  bridge  which  once  spanned  the  mountain  stream  is 
in  ruins,  and  over  the  crumbling  abutments  and  piers  a crude  pole  bridge  has 
been  constructed  by  the  neighboring  peasants.  Down  the  valley  through 
a rift  in  the  hills  one  gets  a view  of  the  sea.  Cows  and  goats  are  drinking 
and  a boy  is  fishing  in  the  crystal  stream,  while  the  shepherd  with  his 
herd  of  sheep  and  goats  worships  before  a shrine  erected  upon  the  body 
of  a fine  old  tree  near  the  rocky  shore.  Beyond  the  valley  stand  the  crum- 
bled ruins  of  a grand  old  castle,  its  moss-grown  walls  towering  far  above 
the  adjoining  hills  are  kissed  by  the  golden  rays  of  a magnificent  Italian 
sunset. 


No.  52 — “Sunset  In  the  Adirondacks.” 

19^x29^. 

Near  the  close  of  a hot  summer  day,  the  sun  has  dropped  from  sight 
behind  the  distant  mountains,  tinting  to  gold  the  billowy  white  capped 
clouds,  enveloping  all  the  landscape  with  a glow  whose  light,  although  more 
mellow,  is  all  but  equal  to  the  direct  rays  of  the  sun.  The  outline  of  the 
trees,  and  the  varied  colors  of  the  cloud  and  sky,  are  mirrored  in  the  crystal 
waters  of  the  mountain  stream,  which  after  its  mad  rush  over  precipitous 
rocks,  now  flows  silently  and  tranquilly  on  its  devious  course  to  the  sea. 
And  from  the  point  where  the  cows  regale  themselves  in  the  water,  and 
rest  upon  the  shore,  we  get  a glimpse  of  the  Gipsy’s  camp  on  a wooded  hill- 
side', just  beyond  an  abrupt  bend  in  the  river.  A most  romantic  landscape, 
done  in  Thomas  Cole’s  inimitable  style. 


COLEMAN  (Samuel). 

American  School. 

Born  in  Portland,  Maine,  1832. 

Pupil  of  A.  B.  Durand. 

“An  elaborate  view  of  the  Rock  of  Gibraltar,  exhibited  by  Samuel  Cole- 
man suggested  a broader  scope  of  landscape  talent  than  his  many  exquisite 
delineations  of  home  scenery  previously  hinted.  * * * Coleman  shows 

us  the  grand  old  historical  monument  as  it  appears  on  a tranquil  summer’s 
day,  lifting  its  majestic  summit  from  a calm  unruffled  sea,  into  a serene 
and  cloudless  sky,  and  glowing  in  the  golden  rays  of  the  noonday  sun.  We 
regard  the  picture  as  a splendid  success.  * * * ‘Tow  Boats  on  the 
scenery  of  that  beautiful  lake  whose  crystal  waters  the  early  French  settlers 
Hudson’  is  fine  in  color;  the  water  is  admirably  represented;  so  are  the 
mountains.  * * * The  first  illustrated  volumes  of  American  verse  were 
published  by  Samuel  Coleman  (Sr.)  and  his  son  must  have  been  familiar  in 
boyhood  with  the  most  select  specimens  of  foreign  illustrated  works.  He 
inherited  a refined  organization  and  a fine  sense  of  the  beautiful.” 

— Tuckerman’s  Book  of  Artists. 


so 


T.  B.  WALKER  COLLECTION. 


“He  enlarged  the  borders  of  his  excursions  and  began  to  study  the 
called  sacramental.  Lake  George  perhaps  never  reflected  from  its  peaceful 
shores  the  figure  of  a happier  artist.  To  the  White  Mountains  also  he 
turned  his  steps,  painting  there  the  studies  for  many  pictures  that  are  now 
safely  and  honorably  housed  in  the  galleries  of  the  metropolis.  And  then,  to 
Europe.  * * * The  two  years  (1860-62)  that  he  spent  in  the  studios  and 
the  museums,  the  cathedrals,  and  the  palaces  of  the  Frank,  the  Castilian,  and 
the  Moor,  were  doubtless  appreciated;  not  appreciated  only,  but  improved. 

— American  Painters,  by  G.  W.  Sheldon. 


No.  53— “The  Old  Stone  Fort.” 

10x1754. 

This  little  landscape,  although  not  the  most  important,  is  one  of  the 
best  of  this  American  artist's  work.  The  scene  is  a quaint  old  Castilian  or 
Spanish  fishers'  hamlet,  painted  during  his  sojourn  in  Europe  in  1860-62. 
The  old  stone  fort  occupies  a promontory  jutting  out  into  the  sea,  with  a 
grove  of  palm  trees  reaching  back  to  the  towering  mountains  in  the  rear. 
Several  boats  lie  at  anchor  within  the  harbor  while  many  others  under 
full  sail  are  seen  in  the  outing.  Two  women  sit  upon  the  sandy  beach  watch- 
ing the  ever  restless  sea  as  the  gentle  waves  come  and  go  in  perfect  rythm 
upon  the  shore.  Earth  and  sky  seem  to  meet  at  the  distant  horizon,  leaving 
only  a dim  outline  of  the  rugged  mountainous  coast.  The  delicate  glow  so 
characteristic  of  Coleman’s  works  is  noticeable  in  this  example  to  a marked 
degree. 


CROCHEPIERRE  (Andre  Antoine). 

French  School. 

Born  at  Villeneuve  sur  Lot  in  1860. 

Still  living  September,  1911,  in  the  place  of  his  birth. 

Began  painting  in  1880. 

Honorable  mention  Salon  de  Paris,  1882. 

Medal  Solon  de  Paris,  1891. 

Bronze  Medal  at  Paris  Exposition,  1900. 

In  a letter  received  from  Mr.  Crochepierre  under  date  of  September  11, 
1911,  he  says:  “I  have  exhibited  at  the  Salon  de  Paris  every  year  since  1882. 
I remain  faithful  in  the  execution  of  my  paintings — to  the  qualities — which 
in  my  estimation  make  the  beauty  of  the  paintings  of  the  Holland  School  of 
the  seventeenth  century,  and  I find  in  that  school  the  true  models,  unfor- 
tunately almost  inimitable.  I thank  you  cordially  for  the  catalogues  which 
you  sent  me.  It  certainly  must  be  a grand  interesting  gallery.  Many  thanks 
also  for  the  catalogue  of  the  Indians,  for  I think  it  is  one  of  the  most 
interesting  things  I have  seen  for  many  days.” 


No.  54 — “Peasant  Woman  at  Prayer.” 

32x22. 

Kneeling  on  a low  chair,  her  arms  resting  upon  its  high  back,  her  white 
beads  in  her  hands,  this  old  woman  looks  before  her  with  a sweet,  compla- 


INDEX  AND  BIOGRAPHICAL  NOTES. 


51 


cent  smile.  Over  her  shoulders  is  drawn  a red  woolen  shawl  of  that 
warm,  bright  tint  in  which  Vibert  so  often  dresses  his  subjects.  Her  dress 
of  black  homespun  falls  in  heavy  folds  about  her,  and  her  head  is  enveloped 
in  a white  kerchief,  bound  turban  fashion  about  it.  This  painting  shows  in 
a marked  degree  the  artist’s  excelling  powers  in  fine  flesh  technique.  His 
drawing  of  hands  is  unequaled,  and  his  depiction  of  the  wrinkled  faces  of  age 
is  unexcelled. 


No.  55 — Grandmother  Rocking  the  Cradle. 

31x22^. 

This  painting  was  purchased  direct  from  the  artist,  who  pronounced  it 
the  best  of  all  his  works,  displaying  not  only  his  talent  as  a painter,  but  a 
depth  of  sentiment  seldom  equaled  and  likely  never  surpassed. 

Hush  now,  and  keep  quiet,  not  a word  or  a peep, 

For  Grandmother’s  rocking  the  baby  to  sleep; 

Not  a step  or  a move,  lest  by  any  mishap, 

A noise  should  be  made  to  disturb  baby’s  nap. 

Rock-a-by  baby,  Grandma  is  near, 

Close  your  bright  eyes,  now,  that  is  a dear. 

Thus  Grandmother  sings,  and  the  cradle  marks  time 
To  her  lullaby  song,  and  the  words  of  her  rhyme. 

Gently  touching  the  cover,  softly  lifting  the  lace 
She  lovingly  studies  the  sweet  baby  face; 

While  the  smile  in  her  eyes,  and  the  song  she  has  sung, 

Reaches  back  to  the  days  when  Grandma  was  young. 

Rock-a-by  baby,  Mother  is  near, 

Papa  is  coming,  that  will  be  dear. 

Thus  singing  she  dreams  of  the  pleasure  and  joy, 

When  the  child  in  the  cradle  was  her  own  baby  boy. 


COROT  (Jean  Baptiste  Camille)  -------  France 

Born  at  Paris,  1796.  Died  1875. 

Pupil  of  Michallon  and  Victor  Bertin. 

Completed  his  studies  in  Italy. 

Medals,  1833,  1848,  1855. 

Legion  of  Honor,  1846. 

Officer,  1857. 

“In  originality  of  mind  and  force,  purity  and  individuality  of  aim  and 
character,  he  seems  to  be  the  most  considerable  figure  that  has  appeared  in 
the  art  world  of  France  during  the  century.”  — L.  G.  W.  Benjamin. 

“Corot  stands  apart.  Critics  call  him  a master.  He  is  no  profuse 
colorist.  Browns,  pale  greens,  and  silver  grays,  with  an  occasional  shade  of 
purple,  or  a bright  spot  of  intenser  color,  to  represent  flowers  or  drapery, 
are  his  reliance.”  — Jarvis’  Art  Thoughts. 


52 


T.  B.  WALKER  COLLECTION. 


No.  56— “End  of  the  Chase” 

12^x18. 

The  broad  meadows  stretch  away  to  the  border  of  blue  hills  in  the  dim 
distance.  Clumps  of  bushes  with  here  and  there  a willow  or  an  elm  breaks 
the  expanse  of  green.  The  small  grey  rabbit  has  been  driven  from  hiding 
and  approaches  the  lone  hunter  with  a bevy  of  dogs  baying  on  his  track. 
The  hunter  hurriedly  brings  his  gun  in  position  determined  to  end  the  chase 
ere  bunnie  plunges  into  the  underbrush  of  the  higher  ground  only  a few 
rods  in  advance. 

A fine  example  of  this  artist’s  work. 

/$&  & 

No.  57— “View  in  Rome  in  18M.” 

29x3% 

Taken  from  the  entrance  of  the  Catacombs,  it  shows  on  the  extreme  right 
a portion  of  the  Colosseum.  On  the  left,  two  tall  trees,  whose  close,  cluster- 
ing boughs  reach  the  upper  corners  of  the  canvas.  To  the  right  of  these  the 
Arch  of  Trajan  can  be  seen,  over  the  foliage  that  covers  the  rocks.  Beyond 
this  is  the  city  itself.  This  painting  passed  through  the  private  galleries  of 
Mr.  Hirsch  and  Count  Kraszowszk,  of  Paris.  Dated  1830. 

No.  58 — “A  Home  in  Brittany.” 

7xl3y2. 

From  the  Henri  Garmier  collection. 

Along  an  unfrequented  roadway,  winding  its  course  by  the  wooded 
shores  of  a small  lake,  a woman  is  leading  a cow.  The  modest  home  with 
thatched  roof  is  seen  just  beyond  while,  in  the  distance,  the  hills  rise  in  a 
blue  line  against  a horizon  of  fleecy  clouds.  The  sky  is  a shade  bluer  and 
the  general  tone  somewhat  brighter  than  is  usual  in  this  artist’s  work.  It 
is  a marked  painting  and  shows  the  artist’s  mastery  of  color  and  design. 

No.  59 — “Dance  of  the  Nymphs.” 

19x28. 

This  picture  is  well  known  to  those  familiar  with  the  work  of  this  artist 
at  his  earlier  period.  Under  the  soft  green  of  a summer  forest,  in  wild  sport, 
the  Nymphs  dance  over  the  sward  and  among  the  flowers.  The  scene  is 
beautiful  in  the  delicate  lights  and  fine  soft  colors  that  compose  it. 

From  the  second  Seney  Collection.  Painted  for  his  family  physician. 
Dr.  Simonia,  and  sold  by  him  to  Leroy  & Co.,  of  Paris. 

• 

No.  60 — “Landscape.” 

10x17. 

The  setting  sun  turns  the  western  sky  to  gold  and  casts  his  declining 
glory  over  the  distant  hilltops.  The  wild  birds  seek  shelter  for  the  night 
among  the  friendly  branches  of  the  stately  trees  while  the  shadows  lengthen 
and  the  shades  deepen  in  the  adjoining  forest.  In  the  foreground,  a boat  lies 


INDEX  AND  BIOGRAPHICAL  NOTES. 


53 


at  its  moorings  near  the  shore  of  the  sun-kissed  lake,  while  the  lone  occupant 
seems  lost  in  a dream  of  the  picturesque  surroundings  and  the  glories  of 
the  departing  day.  A certain  harmony  of  soft  colors  and  delicate  tints  make 
this  a pleasing  picture.  Painted  about  the  time  of  Corot’s  residence  at 
Barbizon  and  the  steeple  in  the  distance  is  in  all  probability  that  of  the 
Church  of  Angelus. 

No.  61 — “Landscape  with  Figures  of  Cattle.” 

10^x18. 

In  the  foreground,  a crystal  lake  reflects  the  mellow  light  of  an  evening 
sky.  A cow  stands  knee  deep  in  the  water  while  a youth  is  seen  wading  to 
the  broad  meadows  skirting  the  further  shore.  On  the  left  in  the  shadow  of 
the  stately  elms,  some  children  are  gathering  wild  flowers;  in  the  distance, 
the  blue  hills  and  at  their  foot,  a villa  almost  hidden  in  the  border  of  the 
adjoining  woods. 

A beautiful  little  painting  after  Corot’s  usual  theme  and  modest  color- 
ing. 

No.  62 — “A  Landscape  Scene.” 

23x31. 

One  of  the  most  attractive  and  beautiful  private  collections  in  this 
country.  Imported  by  Knoedler  & Co.,  about  1875.  Characterized  by  Samuel 
Avery,  of  New  York  City,  as  the  most  attractive  example  of  Corot  that  he 
has  ever  seen.  A characteristic  painting  by  this  most  refined  of  all  the  Bar- 
bazon  painters.  Representing  a pastoral  scene,  with  peasants  in  the  center 
ground,  with  a long  distance  out  over  a bay,  with  the  beautiful,  poetic  trees, 
and  the  soft  gray  coloring  so  characteristic  of  this  painter. 

No.  63 — “Early  Morning.” 

12*4x16. 

The  golden  light  of  morning  creeps  slowly  up  the  eastern  sky,  reflect- 
ing to  earth  the  first  gray  tints  of  returning  day.  Gradually  the  shadows 
steal  away,  bringing  to  view,  one  by  one,  the  various  objects  in  the  surround- 
ing landscape.  The  river  reflecting  the  silver  sheen  of  the  clouds  o’erhead, 
flows  rippling  on  its  devious  way,  while  a lone  fisherman  plies  his  vocation 
from  a skiff  lying  close  beside  the  reed-grown  shore.  Just  beyond,  the  river 
turns  abruptly  to  the  right  and  is  lost  to  view  behind  a' thicket  of  water- 
beach  and  willow;  while  a line  of  low  hills  is  dimly  outlined  far  beyond  the 
clump  of  fine  trees  of  the  farther  shore.  The  subject  is  well  treated  in 
Corot’s  favorite  tints. 

No.  64 — “Aurora  Greeting  the  Dawn.” 

43x34^4. 

From  Baron  de  Beurnonville  Collection,  Paris. 

One  of  Corot’s  most  important  and  beautiful  paintings.  Showing  the 
graceful  figure  of  Aurora  or  Eos,  the  goddess  of  light  and  of  the  day,  pre- 
paring to  welcome  the  early  dawn. 

The  soft  light  of  morning  is  coming  from  the  eastern  sky  across  the 


54 


T.  B.  WALKER  COLLECTION. 


poetic  landscape  from  beyond  the  portico  of  the  temple  seen  in  the  distance. 
No  finer,  more  graceful  or  poetic  landscape  has  been  portrayed  by  any 
ancient  or  modern  master. 


No.  65 — “On  the  Border  of  the  Forest  of  Fontainebleau.” 

21x1454. 

In  this  picture  the  beholder  seems  standing  near  the  two  peasants 
beneath  the  shadow  of  one  of  Corot’s  grand  old  trees  with  grape  vines 
reaching  up  into  its  branches,  and  the  gnarled  trunk  covered  over  with  the 
clustering  vines.  To  the  left  is  a large  willow  whose  top  has  been  blown 
away  by  some  passing  storm,  leaving  but  the  standing  trunk.  With  the  pass- 
ing years,  it  has  sent  up  a large  number  of  thrifty  sprouts  which  even  now 
have  attained  to  the  former  grandeur  of  the  parent  tree.  Beyond  is  a glimpse 
of  landscape  with  small  lake  in  the  foreground  and  a quaint  hamlet  border- 
ing its  shore;  and  in  the  distance,  the  wooded  hills  and  the  silver  gray  of 
the  southern  sky.  A very  fine  and  characteristic  example  of  Corot’s  peculiar 
style. 


No.  66 — “Sunshine  and  Shadows.” 

15x18. 

Beneath  the  shadows  of  a clump  of  green  trees  sits  a peasant  woman; 
work  in  hand,  keeping  watch  over  her  cows.  The  cows  are  feeding  in  a small 
grass  plot  surrounded  by  blossoming  shrubs  and  the  wild  forest  flowers. 
Through  the  trees  we  get  a glimpse  of  a small  lake  and  the  hills  beyond, 
bathed  first  in  sunshine,  then  in  shadow  as  the  fleecy  clouds  skim  lightly 
across  the  sky,  playing  at  “hide  and  seek”  with  the  sun,  as  they  noiselessly 
come  and  go  across  the  azure  deep.  An  ideal  Corot,  painted  after  his  most 
fascinating  style. 

No.  67 — “A  Lake  in  the  Woods.” 

10x14. 

Within  the  shadows  of  the  great  elms,  the  little  brook  after  its  long 
devious  journey  through  various  gorges  in  the  hills,  and  the  deep  grass  of 
the  broad  meadows,  empties  its  crystal  waters  into  “A  Lake  in  the  Woods.” 
A cow  has  just  emerged  from  the  bordering  wood  and  is  in  the  act  of  cross- 
ing the  brook  only  a short  distance  above  its  junction  with  the  lake,  no  doubt 
intent  upon  joining  another  cow  resting  beneath  the  trees  on  the  opposite 
shore.  A boat  with  lone  occupant  tranquilly  floats  upon  the  placid  waters, 
which  mirror  back  the  grandeur  of  the  trees  and  sky. 

No.  68 — “Midsummer  Pleasures.” 

18x24. 

Fleecy  clouds  float  lazily  across  the  sky,  shutting  out  the  rays  of  the 
summer’s  sun.  Occasionally  through  a rift  in  the  cloud,  a flood  of  light 
peeps  through,  causing  fields  of  sunshine  to  chase  the  phantom  shadows 
across  the  blossoming  landscape,  reflecting  their  glory  in  the  crystal  waters 


INDEX  AND  BIOGRAPHICAL  NOTES. 


55 


of  the  lake,  and  adding  a golden  halo  to  the  village  hamlet  on  the  distant 
hill.  The  peasant,  taking  advantage  of  the  ideal  summer  day,  enjoys  his 
favorite  pastime,  fishing  from  the  old  canoe,  while  his  good  wife  whiles 
away  the  passing  hours  gathering  wild  flowers  from  the  wooded  meadows 
adjoining  the  lake,  and  listening  to  the  joyful  songs  of  the  lark,  and  the 
bob-bob-white  of  the  hidden  quail.  An  interesting  example  of  Corot’s  most 
pleasing  and  fascinating  style. 

No.  69 — “A  Sylvan  Reverie.” 

1054x13. 

While  the  tranquil  waters  of  the  lake  reflect  the  silver  sheen  of  the 
clouds,  and  the  village  hamlet,  situated  on  the  distant  hills  is  bathed  in  the 
mellow  light  of  a summer  afternoon,  the  peasant  girl  seated  among  the 
trees  and  flowers,  in  a woodland  reverie,  is  carried  back  to  an  earthly  para- 
dise. The  play  of  colors  in  the  broad  expanse  of  water  come  and  go  like 
varying  moods,  while  the  running  brook  murmurs  an  accompaniment  to  the 
whispering  leaves,  and  the  joyful  anthem  of  a thousand  birds.  An  ideal 
Corot,  both  in  composition  and  tone. 

No.  70 — “Souvenir  of  the  Dead  Fountain.” 

34x45. 

The  title,  “Souvenir  of  Morte  Fountaine,”  is  that  given  by  the  artist, 
and  no  doubt  has  reference  to  the  small  inlet  seen  in  the  foreground,  which 
in  former  years  gave  its  bounty  of  living  water  to  the  lake,  but  now  lies 
dormant,  reed  grown  and  practically  dry.  Through  this  break  in  the  shore 
is  seen  a boat  with  lone  occupant  lying  close  beside  the  bank,  and  beneath 
the  shadow  of  the  row  of  splendid  trees  which  adorn  the  shore.  Under 
the  warm  full  luster  of  his  atmosphere,  every  object  is  perfectly  illumined, 
even  the  shore  line  of  the  crystal  lake  is  plainly  visible,  until  lost  behind 
the  slender  trees  and  tall  grass  upon  the  left.  Just  where  the  fountain 
once  poured  its  limpid  waters  into  the  lake,  stands  a willow,  bent  under 
the  weight  of  years,  and  broken  by  many  a passing  storm.  Here  like  a 
faithful  sentinel  it  stands,  each  year  sending  up  a tender  branch,  upon  which 
the  lark  and  the  wren  may  alight,  while  they  sing  their  happy  songs  of 
consolation  to  the  Spirit  of  the  “Dead  Fountain,”  and  of  joy  to  the  soul 
of  his  ever  faithful  friend. 


CORREGGIO  (Antonio  Allegri). 

Born  at  Correggio  in  1494  (?). 

Died  there  March  5,  1534. 

“Lombard  school.  Real  name  Antonio  Allegri,  son  of  Pillegrino  Allegri; 
probably  pupil  of  his  father’s  brother  Lorenzo,  and  of  Antonio  Bartolotti, 
both  second  rate  painters  of  his  native  town.  At  Modeira  he  is  said  to  have 
found  a better  master  in  Francisco  Bianchi,  called  Ferari,  who  belongs  to 
| the  school  of  Francia,  but  as  Bianchi  died  in  1510,  this,  like  all  that  con- 
cerns Correggio’s  training,  is  uncertain.  An  attempt  to  account  for  his 
peculiar  development  has  led  to  many  conjectures,  none  of  which  give  any 


56 


T.  B.  WALKER  COLLECTION. 


clue  to  the  formation  of  his  totally  new  method  of  painting  or  to  the  dis- 
tinguishing characteristics  of  his  style.  These  characteristics  are  sweetness 
of  expression  and  ineffable  grace  of  pose;  light  in  color,  or,  in  other  words, 
a certain  luminous  quality  which  radiates  and  transfigures.” 

— Cyclopedia  of  Painters  and  Paintings. 
“Allegri’s  art  was  thoroughly  individual,  but  by  the  sensuous  character  of 
his  painting  he  is  more  nearly  allied  to  the  school  of  Venice  than  to  the 
severer  intellectual  schools  of  Padua  or  Florence.” 

“Allegri’s  use  of  chiaroscuro,  his  exquisite  modelling  and  his  gracious 
manner,  if  we  may  so  call  it,  bear  so  much  closer  affinity  to  Leonardo  da 
Vinci  than  to  any  other  master,  that  it  seems  almost  impossible  to  doubt 
that  in  some  way  or  another  he  also  caught  inspiration  from  him.” 

“Perhaps  what  mostly  distinguishes  his  style  from  that  of  every  other 
master  is  his  delicate  perception  of  the  minutest  gradations  of  light  and 
shade.  His  chiaroscuro  has  been  praised  by  artists  as  simply  perfect.  It 
sheds  a wonderful  atmosphere  of  light  and  delight  over  all  his  works,  and 
his  figures  seem  literally  to  live  in  radiant  glory.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

No.  71 — “Virgin  and  Infant  Jesus.” 

7j4x  8y2. 

From  the  collection  of  the  Marquis  de  San  Vitolia,  Italy. 

This  painting  was  exhibited  at  the  Royal  Galleries  at  Leeds  in  1868,  and 
at  the  Royal  Academy,  London,  in  1886,  and  had  to  pass  the  certification  and 
inspection  of  the  Royal  Art  Association.  The  whole  painting  shows  the 
character  of  a master’s  hand.  Although  small,  the  design,  and  the  splendid 
grouping,  the  elegance  in  form  of  both  figures,  and  the  pleasing  harmony 
of  colors  throughout  mark  it  a masterpiece  of  art. 

Mr.  Chas.  D.  Pratt,  art  critic  of  the  Alaska- Yukon-Pacific  Exposition, 
says:  “Coming  down  to  the  great  painters  of  the  16th  century,  we  find  a 

climax  in  Italian  art.  ‘The  Virgin  and  Infant  Jesus,’  by  Correggio,  is  a 
gem-like  example  of  this  master  of  values,  atmosphere  and  color.  His 
pictures  are  mostly  of  religious  subjects,  but  he  was  not  a moralist  or  story 
teller;  he  was  full  of  love  of  life  and  worship  of  nature;  all  his  work  is 
joyous.” 


COTES  (Francis). 

Born  in  London  in  1726,  died  there  July  20,  1770. 

Pupil  of  George  Knapton. 

“Became  eminent  as  a portrait  painter,  was  a member  of  the  Society  of 
Artists,  and  one  of  the  original  members  of  the  Royal  Academy,  where  he 
exhibited  from  1760  to  1770.”  — Cyclopedia  of  Painters  and  Paintings. 

“He  was  the  son  of  the  mayor  of  Galway,  who,  on  some  political  dis- 
pute, came  to  settle  in  London  about  1720,  and  practised  as  an  apothecary 
in  Cork  Street,  Burlington  Gardens.  Here  the  painter  was  born  in  1726,  and 
commenced  the  study  of  art  as  the  pupil  of  George  Knapton.  He  became 
eminent  for  his  portraits  in  crayon  and  also  painted  in  oil  with  much  ability. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


57 


“He  painted  in  1767,  ‘Queen  Charlotte,  with  the  Princess  Royal  on  her 
lap/  a pleasing  portrait,  which  was  engraved  by  Ryland.  He  was  in  con- 
siderable practice  and  for  a time  had  so  great  a run  that  fashion  followed 
him  from  London  to  Bath  and  back  again.  He  drew  well,  sketched  his 
subject  freely  and  was  agreeable  in  his  coloring.” 

• — Redgrave’s  Dictionary  of  Artists  of  the  English  School. 

“He  was  particularly  eminent  for  his  portraits  in  crayons,  in  which 
branch  of  the  art  he  surpassed  all  his  predecessors.  A fine  specimen  of  his 
talent  is  now  in  the  council  room  of  the  Royal  Academy,  close  to  the  por- 
trait of  Sir  Joshua  Reynolds.  The  picture  in  question  is  a portrait  of  old 
Mr.  Robert  Cotes.  He  also  painted  with  considerable  ability  in  oil  colors; 
and  at  one  time  Hogarth  declared  him  to  be  superior  to  Sir  Joshua  Reynolds. 
But  though  the  picture  of  Cotes  deserved  not  this  high  character,  they  were 
very  pleasing,  well  finished,  colored  with  great  spirit,  and  by  the  aid  of  Mr. 
Toms’  draperies,  were  justly  ranked  with  some  of  the  best  of  that  day.” 

— Pilkington’s  Dictionary  of  Painters. 

“Lord  Oxford  mentions  several  of  his  crayon  sketches,  and  says  he 
excelled  Rosalba  in  vivacity  and  invention,  though  inferior  to  her  in  soft- 
ness and  harmony.”  — Spooner’s  History  of  the  Fine  Arts. 

No.  72 — “Portrait  of  Lady  Burdette.” 

26x22. 

From  the  collection  of  Sir  F.  W.  Burton. 

A very  refined  portrait  of  a prominent  lady  and  as  beautifully  painted 
as  though  done  by  Sir  Joshua  Reynolds  and  considerably  after  the  manner 
of  his  coloring  and  finish. 

Lady  Burdett  was  the  wife  of  Sir  Francis  Burdett,  the  liberal  politician, 
who  was  born  in  1770.  Her  maiden  name  was  Sophia  Coutts,  a daughter  of 
Thomas  Coutts,  the  rich  banker  of  London. 


CUYP  (Albert). 

“Born  at  Dordrecht  in  Oct.,  1620,  died  there,  buried  Nov.  6,  1691.  Dutch 
school,  landscape,  animal  and  marine  painter;  son  and  pupil  of  Jacob  Gerritsz 
Cuyp.”  — Cyclopedia  of  Painters  and  Paintings. 

“He  acquired  the  chaste  and  exquisite  style  for  which  he  is  so  particularly 
admired  by  a close  and  vigilant  attention  to  nature,  under  all  the  vicissitudes 
of  atmosphere  and  season.  His  pictures  frequently  represent  the  borders 
of  the  Maes  river,  with  shepherds  and  herdsmen  attending  their  cattle.  These 
subjects  he  has  treated  with  an  enchanting  simplicity,  that  may  be  truly  said 
to  be  peculiar  to  him. 

“It  is  not,  perhaps,  giving  him  more  merit  than  is  due  him  to  assert 
that  no  painter  had  surpassed  him  in  the  purity  of  his  aerial  tint.  Tuned 
to  the  harmony  of  color,  like  the  ear  of  the  musician  to  sound,  his  eye 
appears  to  have  been  incapable  of  a discordant  tone;  every  object  is  enveloped 
in  the  air  of  the  moment  he  wished  to  describe. 

“His  pencil  is  uncommonly  broad  and  facile,  with  an  unusual  plumpness 
of  touch,  and  a crispness  of  surface  which  is  peculiar  to  him,  if  we  except 


58 


T.  B.  WALKER  COLLECTION. 


the  works  of  Rembrandt,  to  which  those  of  Cuyp  bear  some  analogy  in  the 
richness  of  color  and  the  intelligence  of  light  and  shadow.” 

— Bryan's  Dictionary  of  Painters  and  Engravers. 

“There  is  a poetry  of  effect,  an  eternity  of  distance  in  his  pictures,  which 
no  Dutchman  ever  expressed  in  a similar  way.  His  landscapes  sparkle 
with  silvery  sheen  at  early  morning,  they  are  bathed  in  warm  or  sultry  haze 
at  noon,  or  glow  with  heat  at  eventide.  Linder  all  circumstances  they  have 
a peculiar  tinge  of  auburn  which  is  Cuyp’s  and  Cuyp’s  alone. 

“He  shows  great  cleverness  in  throwing  pale  yellow  clouds  against  clear 
blue  skies,  and  merging  yellow  mists  into  live  green  vegetation.  He  is  also 
very  artful  in  varying  light  and  shade  according  to  distance,  either  by 
interchange  of  cloud-shadow  and  sun-gleam  or  by  gradation  of  tints.  His 
horses  and  cattle  are  admirably  drawn  and  they  relieve  each  other  quite 
as  well  if  contrasted  in  black  and  white  and  black  and  red,  or  varied  in 
subtler  shades  of  red  and  brown.  Rich  weed-growth  is  expressed  by  light 
but  narrowy  touch,  suggestive  of  detail  as  well  as  of  general  form.  The 
human  figure  is  given  with  homely  realism  in  most  cases,  but  frequently  with 
a charming  elevation,  when,  as  often  occurs,  the  persons  represented  are 
meant  to  be  portraits.  Whatever  the  theme  may  be,  it  remains  impressed 
with  the  character  and  individuality  of  Cuyp. 

“At  the  sale  of  the  Clewer  collection  at  Christie’s  in  1876,  a small  ‘Hilly 
Landscape  in  Morning  Light’  was  sold  for  £5,040,  and  a ‘View  of  the 
Rhine,’  with  cows  on  a bank,  for  £3,150.  Smith  has  catalogued  335  of  Cuyp’s 
works.  — The  Encyclopedia  Britannica. 

“He  is  deservedly  held  in  very  high  esteem  for  his  peculiar  qualities. 
In  the  treatment  of  atmospheric  effects,  whether  of  morning,  noontide  or 
sunset,  Cuyp  has  no  rival  save  Claude,  whom  he  even  surpasses  in  his 
power  of  diffusing  a glow  of  light  throughout  the  limits  of  a canvas.” 

— Cyclopedia  of  Painters  and  Paintings. 

“His  best  works  are  in  England.  In  the  National  Gallery  there  are  no 
less  than  eight  pictures  by  him;  of  these  the  landscape  with  cattle  and 
figures  (Eng.  106)  is  the  principal.  English  private  galleries  are  rich  in  his 
productions.”  — d’ Anvers’  Elementary  History  of  Art. 


No.  73 — “Shepherds  in  the  Valley  of  the  Maas.” 

44x54. 

From  the  Collection  of  Viscount  Oxenbridge. 

Burton  Hall,  Lincoln,  England. 

It  represents  one  of  this  great  master’s  most  brilliant  and  beautiful 
landscapes,  with  cattle  and  shepherd  by  the  walls  of  an  old  building.  The 
cattle  are  quietly  reposing  in  the  foreground,  with  the  shepherd  listlessly 
watching  and  waiting.  The  air  is  soft,  warm  and  pleasant,  and  the  whole 
picture  full  of  harmony  of  coloring  and  one  of  the  most  beautiful  and  refined 
in  tone  to  be  found  amongst  the  old  masters  of  landscape  painting. 

No.  74 — “Picturesque  Landscape.” 

35x42^. 

Speaking  of  the  peculiar  gifts  of  this  master,  one  writer  aptly  remarks, 
“He  is  particularly  admired  by  a close,  and  vigilant  attention  to  nature, 


INDEX  AND  BIOGRAPHICAL  NOTES. 


59 


under  all  the  vicissitudes  of  atmosphere  and  seasons.”  It  is  owing  to  this 
fact  that  his  numerous  works  differ  materially  in  general  tone,  especially 
in  his  atmosphere  and  clouds.  Whatever  the  subject,  or  tone  however,  his 
studied  arrangement,  faultness  drawing,  and  admirable  atmosphere  stamps 
upon  the  work  the  individuality  and  character  of  Albert  Cuyp.  In  this  in- 
teresting example  he  presents  a group  of  five  soldiers,  near  the  base  of  a 
rocky  cliff  surmounted  by  a quaint  old  church  and  an  ancient  shrine.  Three 
of  the  soldiers  amuse  themselves  with  cards,  while  two  remain  mounted 
upon  their  horses.  The  crude  pole  bridge  that  spans  the  little  brook,  marks 
the  location  of  the  winding  roadway.  Beyond,  on  a wooded  promontory 
lies  the  crumbling  ruins  of  an  ancient  castle,  with  a line  of  blue  hills  in 
the  distance,  and  the  whole  landscape  illuminated  by  a peculiar  bluish,  sil- 
very sheen,  growing  gradually  darker  as  it  approaches  the  deeper  tones 
of  the  fleeting  clouds. 


CLOUET  (Francis)  Called  Janet. 

French  School. 

Born  in  Tours  about  1516. 

Died  about  1573. 

Son  and  probably  pupil  of  his  father,  Jean  Clouet. 

Court  painter  to  Francis  I.,  1541. 

Retained  same  position  under  Henry  II.,  Francois  II.,  Charles  IX. 

and  Henry  III. 

“His  paintings  bear  distinct  traces  of  a Flemish  origin,  and  their  style 
differs  widely  from  that  of  the  Italian  artists,  whose  paintings  were  then 
in  vogue  in  France,  paintings  which  were  tainted  with  an  affected  senti- 
mentality and  a disregard  of  nature.  Clouet  on  the  contrary,  like  the  Van 
Eycks  and  Memling,  had  clearly  made  truth  and  accuracy  his  principal  aim. 
Still  his  works  are  not  Flemish  throughout,  as  they  possess  also  a distinctly 
French  element,  which  is  observable  in  the  elegance  that  pervades  them,  as 
well  as  in  the  taste  that  grasps  the  most  advantageous  point  of  view  from 
which  to  treat  them.  The  more  closely  the  work  is  examined,  the  deeper  is 
the  insight  obtained  into  the  moral  and  physical  character  of  the  person 
represented.”  — Painters  and  Engravers. 

No.  75 — “Queen  of  Navarre.” 

19x15. 

From  the  collection  of  the  Duke  of  Portland. 

Her  maiden  name  was  Jenne  d’  Albert,  being  the  only  daughter  of  Jean 
II.  d’  Albert,  King  of  Navarre.  Her  mother  was  Marguerite,  sister  of  the 
French  monarch,  Francis  I.  Jenne  or  Joan  was  born  in  1528,  and  her  earliest 
suitor  was  Phillip,  the  son  of  Charles  V.  of  Germany,  but  her  uncle,  Francis 
• I.,  opposed  the  union,  and  gave  her  in  marriage  to  Antoine  de  Bourbon, 
Duke  of  Vendome,  in  1548.  She  was  converted  to  the  Protestant  faith  and 
introduced  it  into  Navarre.  On  December  13,  1553,  a son  was  born,  who 
afterwards  became  the  illustrious  Henry  IV.  of  France  and  Navarre.  In  1555 
with  her  husband,  she  succeeded  to  the  throne  of  Navarre.  Her  husband  was 


60 


T.  B.  WALKER  COLLECTION. 


killed  in  1557  and  she  died  in  Paris  in  1572.  She  was  distinguished  for  her 
talents,  virtues,  and  heroic  qualities.  The  portrait  was  painted  while  Clouet 
was  court  painter  to  her  cousin  Henry  II.,  King  of  France. 


CHURCH  (Frederick  Edwin). 

Born  at  Hartford,  Conn.,  May  4,  1826. 

Died  at  New  York,  April  7,  1900. 

“An  eminent  American  landscape  painter,  born  at  Hartford,  Connecti- 
cut in  1826,  was  a pupil  of  Thomas  Cole.  His  earliest  productions  were 
views  of  the  Catskill  Mountains,  among  which  he  resided,  and  a view  of 
East  Rock  near  New  Haven,  which  attracted  very  favorable  notice.  In 
1853-5  he  visited  South  America,  and  found  in  the  magnificent  scenery  of 
that  country,  materials  for  several  of  his  most  admired  pictures.  After  his 
return  he  executed  his  “View  of  Niagara  Falls  from  the  Canadian  Shore,” 
regarded  by  many  as  the  most  successful  representation  of  the  great 
cataract.  ‘In  the  rush  of  water  and  the  fine  atmosphoric  effects/  says  a 
foreign  critic,  it  realizes  the  idea  of  sound  as  well  as  motion.” 

— Lippincott’s  Biographical  Dictionary . 

“In  1855  he  visited  South  America  and  found  in  the  magnificent  scenery 
of  that  country,  materials  for  several  of  his  most  admired  pictures.  * * * 

After  a visit  to  the  Holy  Land  in  1868,  he  painted  Damascus  (1869),  Jeru- 
salem (1870),  The  Pantheon  (1871).” 

— The  Encyclopedia  Americana. 


No.  76 — “Scene  in  the  Catskill  Mountains.” 

31^x48. 

Since  the  summer  of  1609  when  Henry  Hudson  and  the  crew  of  the 
“Half  Moon”  first  saw  the  peaks  rise  above  the  primeval  forests,  the  Cat- 
skill  Mountains  have  never  ceased  to  attract  universal  attention,  being  gen- 
erally considered  by  geologists  as  one  of  the  most  wonderful  localities  in 
all  the  world.  They  lie  in  the  eastern  part  of  the  state  of  New  York,  facing 
the’  picturesque  valley  of  the  Hudson  river.  Scientists  seem  to  agree  that 
these  great  masses  of  rock  were  lifted  bodily  upward  from  the  bed  of 
the  ancient  seas,  showing  the  strata  somewhat  tilted  towards  the  west,  and 
that  the  glaciers,  the’  wind  and  the  rains  of  countless  ages,  have  carved 
out  the  great  valleys  and  precipitous  peaks  into  their  present  picturesque 
appearance.  Mr.  Church  no  doubt  presents  a view  in  the  Big  Indian  Val- 
ley or  possibly  from  the  wonderful  Kaaterskill  Clove  not  far  from  the  village 
of  Katskill.  Aside  from  his  renowned  “View  of  Niagara  Falls”  his  views 
in  the  Catskill  Mountains  are  among  his  most  beautiful  and  interesting 
works.  Here  where  every  layer  of  slate,  and  blue  stone  represents  a page 
in  the  geological  history  of  the  ages,  the  artist  seemed  to  get  his  greatest 
inspirations,  and  in  these  views  therefore,  we  get  his  characteristic  style, 
and  approach  nearer  to  his  individuality  and  native  charm  than  in  any  other 
of  his  splendid  pictures. 


INDEX  AND  BIOGRAPHICAL  NOTES.  61 

DAVID  (Jacques  Louis)  - France 

Born  at  Paris,  1748. 


Founder  of  the  Modern  French  School  of  Painting. 

Studied  under  Vien  at  Paris  and  Rome. 

Gained  First  Prize  of  Rome,  1774. 

Appointed  by  Napoleon  as  his  first  painter,  1804. 

As  one  of  the  regicides  of  Louis  XVI.,  David  was  banished  from  France 
in  1816,  and  died  in  exile  at  Brussels,  1825. 

“David  was  the  Napoleon,  the  dictator,  who,  with  a strong  hand,  arrested 
the  corruption  of  art  and  gave  it  firmness  and  purity.” 

— Gleanings  in  the  Field  of  Art. 

“One  of  the  most  eminent  painters  of  modern  times.  His  countrymen 
have  conferred  on  him  the  title  of  ‘The  Head  and  Restorer  of  the  French 
School,’  which  he  brought  back  from  its  previous  gaudy  and  affected  style 
to  the  study  of  nature  and  the  antique.  At  Rome  he  devoted  himself  par- 
ticularly to  historical  painting,  and  his  great  talent  soon  gained  him  the 
reputation  of  one  of  the  most  promising  artists  of  the  age.  By  1788  his 
reputation  was  established  as  the  first  painter  of  France.  He  painted  several 
portraits  of  the  Emperor  and  other  members  of  the  Imperial  Family,  the 
most  celebrated  of  which  were,  ‘Napoleon  as  First  Consul,’  on  horseback, 
crossing  Mount  St.  Bernard  and  pointing  out  to  his  troops  the  path  to 
glory,  and  ‘Napoleon  in  his  Coronation  Robes.’ 

“As  a grand  designer  he  undoubtedly  ranks  among  the  first  artists  of 
modern  times,  and  the  praise  of  correct  delineation  and  harmonious  coloring 
is  universally  conceded  to  him.  Had  he  lived  in  more  peaceful  and  less  excit- 
ing times,  so  that  he  could  have  lent  his  whole  time  and  energies  to  his 
favorite  branch  of  the  art,  he  doubtless  would  have  far  surpassed  himself, 
and  his  history  would  have  graced  one  of  the  brightest  pages  in  the  annals 
of  the  fine  arts.”  — Spooner’s  History  of  the  Fine  Arts. 


No.  77 — “Napoleon  in  Exile.” 

12^x19. 

Napoleon  was  landed  as  a prisoner  for  life  on  the  Island  of  St.  Helena, 
October  16,  1815.  In  the  autumn  of  the  following  year  he  appealed  to  the 
sympathy  of  the  world  for  alleged  ill  treatment  at  the  hands  of  the  British 
governor,  Sir  Hudson  Lowe.  In  September,  1818,  Napoleon’s  health  began 
to  fail,  and  it  is  alleged  that  he  refused  medical  aid  and  proffered  exercise, 
and  continued  to  grow  worse  until  May  5,  1821,  when  he  died  of  cancer  of 
the  stomach.  He  was  first  buried  on  the  island,  May  8,  1821,  but  in  1840, 
in  accordance  with  his  own  request,  his  remains  were  removed  to  Paris  and 
found  a final  resting  place  under  the  dome  of  the  Hotel  des  Invalides. 

He  is  here  represented  by  the  artist  as  contemplating  the  simple  head- 
stone of  some  notable  prisoner,  who  had  lived  out  the  remnant  of  his  days 
upon  this  prison  island,  and  as  his  keen  eye  is  riveted  upon  the  tomb,  a 
carrion  bird  hovers  low  over  the  last  resting  place  of  one  who  once  was 
great,  influential,  and  powerful.  We  may  surmise  and  conjecture,  but  we 
can  not  conceive  the  utter  hopelessness  and  despair  which  weighed  upon 
his  ever  fertile  mind,  as  he  contemplated  the  end  of  worldly  ambitions,  and 
the  certain  decay  of  all  earthly  greatness. 


62 


T.  B.  WALKER  COLLECTION. 


No.  78 — “Madam  la  Fouche.” 

22x18. 

She  was  the  wife  of  Joseph  Fouche,  Duke  of  Otranto,  a French  Jacobin, 
who  was  born  at  Nantez,  in  1763.  In  1799  he  was  appointed  minister  of  the 
general  police,  and  under  the  consulate  and  the  empire,  rendered  important 
services  to  Bonaparte,  who  in  1806,  gave  him  the  title  of  Duke  of  Otranto. 
He  finally  lost  favor  with  Napoleon  and  in  1810  was  dismissed  from  the 
police,  but  appointed  governor  of  Rome.  After  Napoleon’s  return  from  Elba, 
he  was  again  appointed  as  minister  of  police,  which  office  he  retained  under 
Louis  XVIII  for  a short  period.  He  was  banished  in  1816  and  died  in 
Trieste  in  1820. 


DAUBIGNEY  (Charles  Francois). 

Born  in  Paris,  February  15,  1817. 

Died  there,  February  20,  1878. 

Son  and  student  of  Edme  Francois  Daubigney. 

Student  of  Delaroche. 

Medals:  second  class,  1848. 

First  class,  1853,  1857,  1859  and  1869. 

Legion  of  Honor,  1859. 

Office,  1874. 

“One  of  the  most  distinguished  French  landscape  painters  and  etchers 
of  recent  years.  Under  the  tuition  of  his  father,  he  painted  boxes,  clock- 
cases  and  other  articles  for  commerce.  At  the  age  of  eighteen,  he  visited 
Italy.  * * * He  first  exhibited  at  the  Salon  of  1838  and  obtained  medals 
in  1848  and  1853,  besides  medals  at  the  Paris  Universal  Exhibitions  of  1855 
and  1867.  * * * He  excelled  in  river  scenes  which  he  often  painted  from 
a barge  fitted  up  as  a floating  studio.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“An  excellent  landscape  painter,  especially  of  river  scenes,  which  he 
painted  from  a floating  studio.  He  left  many  etchings.” 

— Cyclopedia  of  Painters  and  Paintings. 


No.  79 — “Scene  on  the  River  Oise.” 

14^x26. 

From  the  collection  of  Baron  de  Bondi. 

Daubigney,  like  Troyon,  found  material  for  much  of  his  works  in 
Normandy,  Brittany  and  the  country  adjoining  Barbazon,  at  which  place 
many  of  his  best  pictures  were  painted.  This  interesting  landscape  is  on 
the  Oise  River  in  this  portion  of  France  and  represents  a borough  of 
humble  cottages,  in  the  midst  of  which  stands  the  parish  church.  In  the 
foreground,  the  crystal  waters  of  the  river  mirror  back  reflections  of  the 
wooded  shore  and  the  delicate  tints  of  the  copper  colored  sky.  And,  as 
the  haze  of  early  morning  adorns  the  distant  hills,  the  ducks  swim  away  in 
delight  and  the  peasant  women  begin  their  morning’s  task.  An  excellent 
and  beautiful  example  of  this  great  painter’s  later  works. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


63 


No.  8G — “Late  Afternoon  in  Southern  France.” 

10x1354. 

Before  driving  his  cows  home  for  the  night,  the  shepherd  boy  brings 
them  down  to  the  crystal  pool  of  spring  water,  just  below  the  hill.  Green 
trees  surround  the  spring,  and  on  the  tableland  beyond  are  several  cot- 
tages almost  hid  from  view  by  the  fields  of  ripening  grain.  Other  cattle 
are  grazing  on  the  neighboring  hillside,  while  beyond  stretching  away  until 
it  meets  the  distant  horizon,  is  a wooded  valley  or  plain.  Banks  of  cloud 
obscure  the  sun,  but  through  the  vapor  the  declining  rays  are  diffused  in  a 
myriad  of  golden  tints  upon  the  clouds  and  reflected  in  subdued  tones  upon 
the  trees  and  hills.  The  best  of  this  great  master’s  drawing  and  coloring  is 
evident  in  this  little  painting. 

No.  81 — “House  of  Mother  Bazot  at  Valmados.” 

754x1154. 

From  the  collection  of  Baron  de  Bondi. 

This  quaint  old  house  was  painted  several  times  by  Daubigney.  It 
seems  to  stand  at  the  end  of  a row  of  small  cots  near  the  shore  of  a small 
stream.  Just  outside  the  rustic  fence,  Mother  Bazot  is  seen  bringing  home 
the  ducks.  The  row  of  green  trees  mark  the  course  of  the  stream,  while 
the  western  sky  is  resplendent  with  the  new  moon’s  crescent  band  and  the 
soft  rays  of  the  setting  sun. 

It  is  not  strange  that  a scene  such  as  this  should  inspire,  but  how  won- 
derful that  this  master  has  been  able  to  draw  a perfect  picture  of  his  im- 
pressions! 


No.  82 — “Le  Crepuscule”  (Twilight). 

31x49. 

It  is  evident  that  this  delicate  twilight  was  painted  like  many  of  Daubig- 
nay’s  river  scenes,  from  a floating  studio  on  the  Oise  river.  The  delicate 
blush  of  the  sky  after  sunset  is  reflected  in  the  water  of  the  river.  The 
fish  hawks  dip  low  in  search  of  an  evening  meal,  but  the  finny  tribe  is 
seen  hiding  in  the  reeds  that  border  the  shore.  On  the  right  a quaint  old 
house  surrounded  by  a stone  wall  is  almost  hidden  from  view  in  the  deep- 
ening shadows  of  the  stately  trees,  which  stand  out  like  sentinels  against 
the  varied  tints  of  the  evening  sky. 

When  the  light  of  day  is  waning,  and  the  golden  sun  has  set, 

And  a hundred  varied  tints  pervade  the  sky; 

When  the  surface  of  the  water,  from  reflected  lights  beget, 

A play  of  color,  mirrored  from  on  high. 

Then  comes  the  peaceful  evening  time’s  grandest  sweetest  dower, 

The  hallowed,  restful  moments  of  the  twilights  witching  hour. 

No.  83 — “Summer  Morning  on  the  River  Oise.” 

2654x3654. 

The  Oise  River  of  France  rises  near  Selogne,  in  the  forest  of  Thierache, 
among  the  Ardennes,  Hainaut,  Belgium,  and  flows  southwest  across  the  de- 


64 


T.  B.  WALKER  COLLECTION. 


partment  of  Aisne-et-Oise,  joining  the  Seine  about  six  miles  below  Pontoise 
in  the  department  of  Seine^et-Oise. 

The  scene  is  no  doubt  from  the  artist’s  floating  studio,  looking  down 
the  river.  In  the  immediate  foreground  a reed  grown  sand  bar  reaches 
out  some  distance  into  the  river,  just  below  which  a bevy  of  ducks  disport 
themselves  in  the  water.  Within  the  shadows  of  the  stately  trees  sur- 
mounting the  higher  grassy  shore  on  the  right,  two  peasant  women  are 
busy  with  their  morning’s  washing,  while  a small  steam  launch  towing  a 
barge  makes  its  way  slowly  up  the  somewhat  rapid  flowing  channel.  The 
opposite  shore  is  dotted  with  fields  of  golden  grain,  shady  groves,  and  the 
humble  homes  of  the  peasantry.  The  sky,  partially  obscured  by  clouds, 
and  radiant  with  the  glow  of  the  morning  sun,  makes  a fitting  background 
for  the  row  of  blue  hills  just  coming  into  view  in  the  increasing  light. 
The  coloring  may  suffer  somewhat  in  comparison  with  the  “Scene  on  the 
River  Oise,”  but  the  subject  and  splendid  composition  makes  the  painting 
fully  as  interesting. 

No.  84 — “Sunset,  Early  Autumn.” 

14^x21. 

Another  view  near  the  home  of  Mother  Bazot  at  Valmadois.  In  the 
foreground  the  flock  of  ducks  after  a busy  day  are  congregating  on  the 
shore  ready  to  swim  away  home  for  the  night.  The  shadows  lengthen, 
and  the  shades  grow  darker  in  the  adjoining  wood,  as  the  birds  seek 
shelter  in  the  friendly  branches,  chirping  a last  sweet  anthem  to  the  de- 
parting day.  The  sun  like  a great  ball  of  fire,  is  just  dropping  from  sight 
behind  the  distant  hills,  tinting  the  clouds  with  its  golden  rays,  reflecting 
a myriad  of  fantastic  colors  to  the  crystal  waters  of  the  pool,  and  the 
soft  blush  of  twilight  to  the  surrounding  landscape. 

DEVE  (E.). 

Born  at  Vienna  and  studied  in  Academy  under  Lotz. 

No.  85 — “Evening  in  Italy.” 

28^x40. 

The  artist  gives  us  a view  directly  up  a shallow  river,  as  it  comes  in 
sight  around  a point  of  low  land  to  the  right  densely  covered  with  a growth 
of  stately  trees,  creeping  vines,  hazel  brush  and  ferns.  On  the  left  two 
women  are  bathing  under  the  seclusion  of  the  rocky  precipitous  shore,  be- 
neath the  deep  shadows  of  a sturdy  oak  and  a clump  of  overhanging  willows. 
Beyond  the  bend  in  the  river  are  broad  meadows  of  waving  grass  and 
farther  on  a line  of  blue  hills  standing  out  dimly  against  the  golden  glow 
of  a summer  sunset.  A beautiful  subject  finely  drawn  and  delicately  toned 
and  finished. 

DEMONT-BRETON  (Mme.  Virginie  Elodie)  - - - France 

Born  at  Courrieres. 

Pupil  of  her  father,  Jules  Breton. 

Medals  third  class,  1881;  second  class,  1883. 

Hors  Concours. 

Member  of  the  Society  of  French  Artists. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


65 


No.  86— “Her  Man  Is  on  the  Sea  ” 

62^x52. 

'Three  fishers  went  sailing  away  to  the  West, 

Away  to  the  West  as  the  sun  went  down; 

Each  thought  of  the  woman  who  loved  him  the  best, 

And  the  children  stood  watching  them  out  of  the  town; 

For  men  must  work  and  women  must  weep, 

And  there’s  little  to  earn  and  many  to  keep, 

Though  the  harbor  bar  be  moaning.” 

This  is  one  of  the  largest  pictures  in  Mr.  Walker’s  collection.  It  repre- 
sents a peasant  woman,  the  wife  of  a sailor,  sitting  near  a rude  fireplace 
with  a babe  in  her  lap.  Apparently  she  has  just  been  warming  the  little 
fellow’s  feet  prior  to  putting  him  to  bed.  The  child  is  sleeping  and  his 
legs  and  feet  are  exposed  to  the  fire,  which  throws  a bright  reflection  on 
them.  His  mother’s  head  has  dropped  half  to  one  side  and  is  resting  against 
the  wall  back  of  her  chair.  The  eyelids  are  half  closed,  indicating  that  she, 
too,  is  just  upon  the  point  of  falling  asleep.  The  great  strength  of  the 
picture  is  in  the  expression  of  the  mother’s  face.  It  is  one  of  utter  weariness 
in  the  waiting  and  watching,  mingled  with  anxiety  and  sadness.  She  has 
been  thinking  and  wondering  as  to  her  husband’s  safety,  and  at  last  has 
yielded  to  the  influences  of  tired  nature. 

The  coloring  is  subdued,  but  very  effective.  The  treatment  harmonious, 
and  while  there  are  no  strikingly  arranged  highlights  and  no  conspicuous  mar- 
shaling of  catchy  characteristics,  yet  there  is  so  much  of  fine  drawing,  so 
much  of  rare  color — joined  to  the  tender  sentiment  in  the  piece — that  one 
finds  it  hard  to  leave  the  patient,  saddened  face. 


DESMOULINS  (Auguste). 

French  School. 

Student  of  J.  L.  David. 

A prominent  French  painter  and  personal  friend  of  Rosa  Bonheur. 


No.  87 — “Napoleon  on  Horseback/’ 

16x21}4. 

The  artist  simply  presents  a portrait  of  Napoleon  on  his  beautiful  horse, 
the  other  figures  in  the  picture  forming  only  a fitting  background.  He  and 
his  staff  all  mounted,  occupy  a wooded  hill  immediately  in  the  rear  of  his 
advancing  army.  While  the  trappings  of  his  horse  are  rich  and  gaudy, 
Napoleon  himself  is  dressed  even  plainer  than  the  members  of  his  staff,  as 
he  stands  slightly  in  advance,  viewing  the  progress  of  the  battle  through 
his  field  glass.  One  of  his  faithful  soldiers  lies  dead  and  unnoticed  at  his 
feet  as  a mute  reminder  of  the  terrible  price  of  Napoleon’s  greatness,  glory, 
and  power. 

DE  BRUSH  (George  F.).  £et 

American  School. 

Born  in  Selbyville,  Tenn.,  1855. 

Figure  Painter. 

Pupil  of  National  Academy. 

Member  of  American  Society  of  Artists. 

Professor  of  Antique  class,  Art  Students’  League. 


66 


T.  B.  WALKER  COLLECTION. 


No.  88— “A  Celtic  Huntress  ” 

22x17. 

The  picture  is  that  of  a young  girl  standing  erect,  and  looking  intently 
and  almost  defiantly  at  the  person  who  dares  to  look  in  her  direction.  She 
is  strongly  built,  and  holds  in  one  hand  an  arrow,  while  with  the  other, 
she  caresses  her  faithful  hound  standing  by  her  side.  A very  striking  figure 
piece,  and  a fine  and  characteristic  example  of  this  American  artist’s  work. 


DEL  SARTO  (Andrea). 

Born  at  Florence  in  1487. 

Died  there  in  1531. 

“Andrea  d Agnolo  is  commonly  known  as  Andrea  del  Sarto  from  the 
profession  of  his  father  who  was  a tailor.  He  has  till  lately  been  miscalled 
Vannucchi.  Giovanni  Cinelli  writing  in  1677  was  the  first  to  call  him  by 
that  name.  The  mistake  arose  through  the  misreading  Andrea’s  mono- 
gram of  two  A’s  for  an  A and  a V crossed.  * * * His  name  was  An- 
drea Agnolo  di  Francesco  di  Luca  di  Paolo  del  Migliore.  He  was  born 
at  Florence  in  1487,  and  having  shown  an  early  disposition  for  drawing  he 
was  placed  with  a goldsmith  to  learn  the  business  of  engraving  on  plate. 
In  this  position  he  was  noticed  by  Giovanna  Barile,  an  artist  of  little  note, 
who  persuaded  his  father  to  entrust  him  to  his  care.  Andrea  remained 
under  that  master  for  three  years,  and  afterwards  entered  the  School  of 
Piero  di  Cosino,  who  was  a better  colorist  than  draughtsman,  and  from 
him  he  acquired  the  habit  and  knowledge  of  painting  those  beautiful  land- 
scape backgrounds  which  are  seen  in  many  of  his  works.  Andrea  was, 
however,  more  indebted  for  the  cultivation  of  his  talents  to  his  studies 
from  the  frescoes  of  Masaccio  and  Ghirlandaio,  and  afterwards  from  the 
cartoons  of  Leonardo  da  Vinci  and  Michelangelo  than  to  the  lessons  of  his 
instructors.  Andrea  del  Sarto  possessed  an  extraordinary  talent  of  imi- 
tating and  copying  the  works  of  great  masters  with  an  accuracy  which 
sometimes  deceived  even  the  painters  themselves.  Of  this  Vassari  men- 
tions a very  remarkable  instance  of  which  he  was  himself  an  eye  wit- 
ness. Raphael  had  painted  for  the  Cardinal  Giulio  de  Medici,  afterwards 
Clement  VII,  the  portrait  of  Leo  X seated  between  that  prelate  and  Car- 
dinal Rossi,  in  which  the  drapery  and  background  were  painted  by  Giulio 
Romans.  Federigo  II,  Duke  of  Mantua  passing  through  Florence  to  Rome 
had  seen  this  picture,  and  had  requested  Clement  VII  to  make  him  a 
present  of  it,  when  the  Pope  gave  directions  to  Ottaviano  de  Medici  to 
send  the  portrait  to  Mantua.  Unwilling  to  deprive  Florence  of  so  interest- 
ing a work  of  art,  Ottaviano  employed  Andrea  del  Sarto  to  paint  an  exact 
copy  of  it,  which  was  sent  to  the  Duke  of  Mantua  at  the  time  when  Giulio 
Romano  was  in  his  service.  No  person  suspected  the  deception;  even 
Giulio  was  himself  deceived,  and  was  only  convinced  of  the  fact  by  Vasari 
assuring  him  that  he  had  seen  it  painted,  and  by  showing  him  the  private 
mark  of  Andrea  del  Sarto.” 

— Painters  and  Engravers. 

“The  works  of  Andrea  d Agnolo  are  distinguished  by  drawing  so  cor- 
rect that  his  contemporaries  named  him  ‘The  Faultless;’  also  by  delicate 
modeling  and  good  chiaroscuro.  His  coloring  is  fine,  and  the  general  exe- 


INDEX  AND  BIOGRAPHICAL  NOTES. 


67 


cution  of  his  works  in  fresco  excellent.  As  regards  his  figures,  they  have 
much  dignity,  and  those  introduced  with  Biblical  subjects  have  a more 
Eastern  appearance  than  those  in  the  works  of  his  contemporaries.” 

— Painters  and  their  Works. 


No.  89 — “Madonna  and  Child  ” 

35^4x29^2. 

From  the  Collection  of  Hans  Greven,  Munich. 

The  “Gallery  Greven”  was  organized  at  Munich  upwards  of  one  hun- 
dred years  ago,  and  was  sold  out  at  private  sale  in  the  early  part  of  the 
year  1912. 

Like  his  portrait  of  Leo  X,  for  the  Duke  of  Mantua,  this  work  fol- 
lows closely  the  style  of  Raphael  with  the  possible  exception  of  a very 
slight  stiffness  of  his  figures.  The  drawing,  however,  is  exceptionally  fine, 
and  the  coloring  is  all  but  faultless.  The  beautiful  face  of  the  Madonna 
actually  glows  with  the  radiance  of  maternal  love,  while  the  delicate  hands 
tenderly  clasp  the  divine  infant.  The  child  is  well  formed,  and  unlike  the 
babes  in  many  notable  works  of  this  character,  is  truly  infantile,  not  only 
in  flesh  tones,  but  in  attitude,  form  and  feature. 

Just  one  touch  of  nature  makes  all  the  world  kin. 

Bringing  back  tender  memories  where  e’re  we  may  roam; 

But  when  love  is  exemplified,  our  hearts  once  again, 

Instinctively  turn  back  to  Mother  and  home. 


DIAZ  DE  LA  PENA  (Narcisse  Virgile)  - Paris 

Born  at  Bordeaux,  August  21,  1808. 

Died  November  18,  1876. 

Genre  and  landscape  painter. 

A romantically  picturesque  figure  in  art  is  that  of  Diaz.  Born  in  1808 
at  Bordeaux,  of  Spanish  parentage,  who  had  been  banished  from  their  native 
country  on  account  of  political  troubles.  At  ten  years  of  age  Diaz  was  left 
an  orphan,  and  at  fifteen  he  was  apprenticed  to  a maker  of  porcelain,  where 
his  talent  first  displayed  itself.  He  quarreled  with  and  left  his  master,  and 
subsequently  spent  several  years  in  most  bitter  poverty.  After  his  ability 
as  a most  wonderful  colorist  had  been  recognized,  Diaz  painted  and  sold 
many  pictures,  endeavoring  by  the  accumulation  of  a fortune  to  avenge  the 
poverty  of  his  youth.  He  died  at  Paris  from  the  sting  of  a viper,  in  1876. 
Medals  in  1844,  1846  and  1848.  Legion  of  Honor,  1851.  Diploma  to  the 
memory  of  Deceased  Artists,  Exposition  Universelle,  1878. 


No.  90— “A  Pleasant  Road  ” 

8x10^4. 

From  the  collection  of  Herzog  Freres,  Paris. 

Another  of  this  artist’s  little  gems.  A lone  woman  is  seen  wending  her 
way  down  an  unfrequented  road,  winding  its  devious  way  through  a wooded 


68 


T.  B.  WALKER  COLLECTION. 


landscape.  Here  we  pass  a great  boulder  o’ergrown  with  moss  and  wild 
flowers,  while  a little  farther  on,  the  old  road  skirts  the  reed-grown  shore 
of  a crystal  pool.  The  sky  is  partially  obscured  by  clouds  and  now  and 
then  the  sun  breaks  through,  dispelling  the  shadows  and  tinting  the  land- 
scape with  ever  changing  fields  of  light  and  shadow. 


No.  91 — “A  Pathway  Through  the  Forest.” 

6x8. 

From  the  collection  of  Herzog  Freres,  Paris. 

This  beautiful  little  landscape  is  from  Brittany.  A pathway  through 
the  forest,  skirted  on  either  side  by  shrubs  and  wild  flowers,  here  it  bends 
around  a great  tree  and  then  it  follows  the  banks  of  the  crystal  brook. 
The  sun  is  obscured,  except  for  the  moment;  the  lonely  traveler  sees  a 
rift  in  the  billowy  clouds  and  the  mellow  lights  shed  glory  on  the  distant 
trees. 


No.  92 — “Nymphs  at  the  Pool.” 

15^x12^. 

From  the  collection  of  Herzog  Freres,  Paris. 

At  a secluded  pool  in  the  forest,  five  Nymphs  are  disporting  themselves 
in  the  limpid  waters.  Three  have  already  finished  their  toilet  and  languidly 
watch  the  others  who  are  yet  in  the  water.  Under  the  shadow  of  an  over- 
hanging bush,  the  faithful  dog  keeps  watch  while  the  crystal  waters  mirror 
back  the  radiant  tints  from  the  sun-kissed  sky. 

The  work  of  this  painter  fascinates  not  only  by  the  perfect  harmony  of 
colors,  but  by  the  energy  and  life  given  to  all  his  figures. 


No.  93 — “Gathering  Wild  Flowers.” 

9x12*4. 

From  an  old  French  collection. 

Beneath  the  friendly  shade  of  the  wooded  shore,  a bevy  of  young  girls 
are  resting  and  admiring  the  bunches  of  wild  flowers  gathered  along  the 
banks  of  the  lake.  Behind  them  the  forest  is  dense  and  the  shadows  deep, 
except  for  one  rift  in  the  foliage,  through  which  peeps  the  blue  of  the  azure 
sky.  The  dog,  jealous  lest  he  be  forgotten,  ardently  courts  recognition  from 
his  young  mistress  and  insists  upon  being  considered  as  a necessary  adjunct 
to  the  merry  party. 

No.  94 — “A  Summer  Afternoon.” 

12^4x9. 

From  the  collection  of  Herzog  Freres,  Paris. 

A young  lady  attired  as  for  the  ball  is  seated  at  the  foot  of  a vine-clad 
tree,  accompanied  by  her  faithful  dog.  The  deep  shadows  of  the  adjoining 


INDEX  AND  BIOGRAPHICAL  NOTES. 


69 


woods  cause  the  white  figure  of  the  girl  to  stand  out  in  bold  relief.  With 
flower  in  hand,  she  seems  intently  looking  and  waiting  for  someone  whom 
the  painter  has  left  to  conjecture. 

Like  all  of  Diaz’  paintings,  the  colors  are  pleasing  and  the  subject  well 
chosen. 


No.  95 — “The  Forests  of  Fontainebleau.” 

16x21. 

This  renowned  forest  extends  over  an  area  of  81,740  acres  and  is  trav- 
ersed by  12,000  miles  of  road  and  pathway.  It  is  one  of  the  most  beautiful 
wooded  tracts  in  France,  and  for  generations  it  has  been  the  chosen  haunt 
of  French  landscape  painters.  The  most  celebrated  spots  are  the  Vallee 
de  la  Solle,  the  Gorge  au  Loup  (Wolf),  the  Gorge  d’Apremont,  and  the 
Fort  l’Empereur.  The  town  of  Fontainebleau  stands  in  the  midst  of  the  forest 
in  the  department  of  Seine  et  Marne,  about  thirty-seven  miles  southeast  from 
Paris,  on  the  railway  to  Lyons.  The  village  of  Barbizon  also  stands  on  the 
border  of  the  forest  of  Fontainebleau. 

This  beautiful  little  picture  represents  one  of  the  numerous  paths  through 
the  forest.  Dark  clouds  cast  a deep  shadow  on  the  foreground,  but  in  the 
distance  the  pathway  and  trees  are  bathed  in  the  soft  light  reflected  through 
a rift  in  the  cloud. 

No.  96 — “Fresh  Air  and  Pleasant  Sunshine.” 

5 54x8. 

Like  all  of  Diaz’s  works,  this  little  panel  is  a gem  of  art.  On  a mild 
summer’s  day,  when  the  rays  of  the  sun  are  tempered  by  light,  fleecy  clouds, 
grandma  takes  a stroll  through  the  wooded  pastures,  enjoying  once  more  the 
fresh  air  and  pleasant  sunshine.  The  hurrying  clouds  cause  alternating  fields 
of  sunshine  and  of  shadow  to  chase  each  other  over  hills  and  meadows,  while 
the  leaves  gently  rustle  in  the  soft  breeze,  wafted  thither  from  the  distant 
hills. 


No.  97— “Flora.” 

14^x1024. 

A very  graceful  female  figure  with  flowing  hair  and  airy  costume  of  dark 
blue  is  standing  in  a wooded  glade,  bearing  on  her  arm  a basket  of  flowers, 
and  accompanied  by  two  persuasive  cupids.  The  pose  of  the  figure  is  very 
graceful,  while  the  soft,  warm  flesh  tints,  and  the  management  of  the  foliage 
and  clouds  forming  the  background  show  both  a masterly  knowledge  and  a 
refined  sense  of  beauty.  Diaz’s  pictures  show  him  to  have  been  a colorist 
of  the  most  brilliant  splendor. 

From  Sedelmeyer,  Paris. 


No.  98 — “Social  Gathering  of  Turkish  Women.” 

1554x12. 

Seated  upon  rugs  spread  upon  the  ground,  after  the  manner  of  the  far 
east,  three  Turkish  women  of  the  nobility  are  gathered  around  a tray 


70 


T.  B.  WALKER  COLLECTION. 


containing  a Turkish  pipe  and  a small  jar  of  tobacco.  The  ladies  are  with- 
out veils,  which  would  indicate  that  they  are  within  the  private  grounds  of 
the  home  of  the  hostess.  All  are  attired  in  elaborate  gowns,  rich  head- 
dress, and  a profusion  of  jewels  and  costly  laces.  This  class  of  pictures  is 
of  necessity  extremely  rare,  as  an  artist  is  seldom  privileged  to  make  such 
sketches,  and  then  only  for  the  privilege  of  painting  a picture  for  the  noble- 
man’s harem. 


No.  99 — ‘‘Turkish  Women  Entertaining.” 

15x19. 

It  will  be  observed  that  the  three  women  seated,  are  the  same,  and 
in  the  same  position  as  those  in  the  preceding  picture,  “Social  Gathering 
of  Turkish  Women.”  In  this  interesting  work,  however,  two  more  char- 
acters are  introduced.  The  lady’s  maid  or  servant  has  removed  the  tray 
containing  pipe  and  tobacco,  and  has  placed  in  its  stead  a pedestal-like 
stand,  upon  which  is  a rare  old  liquor  decanter  and  a small  metal  drinking 
cup. 

The  beautiful  young  daughter  of  the  hostess  has  also  arrived  on  the 
scene,  and  stands  just  back  of  the  ladies,  holding  in  her  arms  her  pet  dog. 
It  is  evident  that  the  artist  made  the  most  of  this  opportunity,  really  se- 
curing two  rare  and  charming  groups  from  practically  one  sitting,  and  luck- 
ily both  have  found  their  way  into  this  collection,  which  gives  to  each  an 
additional  interest. 


No.  100 — “Turkish  Woman  and  Children.” 

24x17. 

A young  Turkish  mother,  no  doubt  the  wife  of  a Pasha,  is  seated  un- 
der the  shadow  of  the  trees,  within  the  private  gardens  of  her  own  home. 
Her  attire  consists  of  a royal-blue  blouse,  and  a rose-colored  gown  of  rich 
material,  elaborately  trimmed  in  gold  and  lace.  Folded  across  her  lap  is  a 
rare  Persian  shawl,  while  the  head  is  surmounted  by  a crown-like  tiara 
with  the  veil,  with  which  the  face  is  always  covered  when  appearing  in 
public, — thrown  lightly  over  the  crown  and  falling  in  graceful  folds  over  the 
shoulders.  The  arms  and  neck  are  encircled  by  pearls,  and  other  gems 
adorn  the  hands,  the  ears  and  crown-like  head-dress.  Immediately  back  of 
the  mother  stand  her  two  beautiful  young  daughters,  each  attired  as  richly 
as  the'  woman.  The  children’s  faithful  dog  receives  the  caresses  of  his 
noble  little  mistress,  with  a dignity  commensurate  with  his  exalted  posi- 
tion, believing,  no  doubt,  that  the  group  would  be  incomplete  without  him. 


No.  101 — “A  Memory  of  Normandy.” 

21^x26. 

This  important  province  of  the  French  Republic  occupies  practically 
the  whole  north  portion  of  ancient  Gaul,  Rouen  being  the  capital  city.  The 
settlement  and  beginning  of  the  Norman  state  are  commonly  placed  in  the 
year  912  A.  D.,  Rolf  or  Rou;  the  Norman  leader  received  the  country  as  a 


INDEX  AND  BIOGRAPHICAL  NOTES. 


71 


grant  from  Charles  the  Simple,  king  of  Carolingia,  and  it  continued  prac- 
tically an  independent  country  until  the  reign  of  Richard  the  Fearless  (about 
987)  after  which  it  was  considered  a part  of  France.  While  some  provinces 
such  as  Burgundy,  Poitou,  and  Lanjou  are  more  important  as  agricultural 
and  fruit  districts,  yet  Normandy  with  its  beautiful  rivers,  historic  cities, 
and  picturesque  coast  line  is  certainly  a painter’s  paradise.  The  artist  pre- 
sents a diversity  of  interesting  landscape,  and  naturally  gives  to  his  at* 
mosphere  a warmer  tone  than  is  found  in  his  gem-like  figure  pieces  and 
miniature  landscapes. 


DIETERLE  (Mme.  Marie). 

Born  at  Sevres,  France. 

Landscape  painter. 

Daughter  and  pupil  of  E.  Van  Marcke. 

Her  paintings  are  as  soft  and  attractive  and  at  the  same  time  as  beauti- 
fully painted  as  those  of  her  father.  In  fact,  her  works  are  more  sought 
after  than  any  other  lady  artist. 


No.  102 — “Going  Home  From  the  Pasture.” 

27x21. 

As  the  shadows  of  the  evening  deepen  the  old  lady  drives  the  cows 
home  from  wooded  pasture.  Those  in  the  lead  seem  to  hesitate  as  though 
we  stood  in  the  way,  and  only  a few  more  steps  would  bring  them  through 
the  frame  and  off  the  canvas.  The  picture  resembles  very  much  the  work 
of  her  illustrious  father,  Emil  Van  Marke. 


DIETRICH  (Christian  Wilhelm  Ernst). 

Died  at  Dresden,  April  24,  1774. 

Student  of  his  father  and  Thiele. 

He  was  sometimes  called  Dietrici  or  Dietricy. 

Appointed  court  painter  to  Augustus  II.  of  Poland,  1729. 

Same  under  Augustus  III.  of  Poland  in  1741. 

Professor  Academy  of  Arts,  Dresden. 

Director  of  the  Painting  School  at  the  Meissen  Porcelain  Factory. 

“His  chief  talent  consisted  in  a successful  imitation  of  the  works  of 
Rembrandt,  Ostade,  Poelemburg,  Salvator  Rosa  and  others,  particularly  as 
a colorist,  in  v/hich  he  greatly  excelled.  In  1746  he  became  keeper  of  the 
Dresden  Gallery,  in  which  he  is  very  fully  represented.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“There  were  several  artists  of  this  name,  of  whom  Christian  was  the 
most  distinguished.  He  traveled  in  Holland  and  in  Italy,  was  protected  by 
Count  Bruhl,  and  became  painter  to  Augustus,  King  of  Poland.  He  pos- 
sessed extraordinary  skill  in  imitating  old  masters  and  was  an  excellent 
colorist.”  — Painters  and  Their  Works. 


72 


T.  B.  WALKER  COLLECTION. 


“His  chief  merit  lay  in  successful  imitation  of  the  works  of  Rembrandt, 
Ostade,  Poelemburg  and  Salvator  Rosa,  though  he  had  much  original  excel- 
lence. He  painted  historical  subjects  enriched  with  landscapes  in  a good 
style.”  — Pilkington’s  Dictionary  of  Painters. 


No.  103 — “The  Crucifixion  ” 

x 26x35. 

From  the  collection  of  Alberto  Remond,  of  Caiffa,  Syria.  Taken  there 
with  him  when  appointed  minister  from  France. 

“And  when  they  had  come  to  a place  called  Golgotha,  that  is  to  say,  A 
place  of  a skull,  they  crucified  Him  and  parted  His  garments.”  The  two 
thieves  and  Jesus  under  guard  of  a squad  of  Roman  soldiers,  and  surrounded 
by  those  who  had  accused  Jesus  before  Pilate,  have  arrived  at  the  place  of 
execution.  The  two  unfortunate  men  who  had  fallen  a prey  to  selfishness 
and  greed,  one  sitting  and  one  standing,  are  under  guard  at  the  rear  of  the 
noisy  mob  around  Jesus.  At  the  left  is  “the  centurion  and  those  that  were 
with  Him,”  including  His  mother  and  a few  faithful  followers.  While  the 
Roman  soldiers  strip  Jesus  of  His  raiment,  scourge,  and  otherwise  abuse  and 
maltreat  Him,  the  Priests,  Scribes  and  Pharisees  look  on  in  ghoulish  satis- 
faction, as  they  are  about  to  see  the  consummation  of  their  earnest  endeavor 
to  be  rid  of  this  Nazarene  who  had  dared  to  teach  a different  doctrine  than 
that  accepted  by  the  majority  of  His  people.  They  had  raised  a great  mob 
and,  in  the  darkness  of  night,  had  laid  hands  on  Him  and  took  Him  before 
Caiaphas,  the  High  Priest,  where  the  dignitaries  of  the  church  had  assembled 
ready  to  condemn  Him.  Arriving  there,  the  usual  inquisition  was  held  and, 
as  prearranged,  He  was  condemned,  and  carried  before  Pilate  (the  civil 
tribunal),  and  when  that  governor  asked  what  wrong  He  had  done,  they 
answered  simply,  “If  He  had  not  been  a malefactor  we  would  not  have 
brought  Him  before  you.”  After  a long  parley,  Pilate  said:  “Take  Him 

and  do  with  Him  as  you  will.”  They  said:  “It  is  not  lawful  for  us  to  put 

any  man  to  death,”  but  “we  have  a law  and  by  that  law  He  ought  to  die.” 
This  was  a civil  law  that  had  found  its  way  into  the  statutes  of  Caesar’s  do- 
mains through  the  influence  of  those  same  scribes,  priests  and  Pharisees, 
who  were  now  compelling  the  civil  power  to  enforce  it.  How  exactly  like 
all  religious  persecution,  and  it  proves  beyond  a reasonable  doubt  that  ma- 
jorities are  not  of  necessity  divinely  right. 

The  biographies  of  all  the  great  masters  show  that  in  their  mature  age 
they  were  wont  to  reproduce  these  notable  scenes  from  the  life  of  Christ, 
giving  to  the  world  in  them  not  only  the  very  best  examples  of  their  handi- 
work, but  in  their  faithful  portrayal,  to  emphasize  the  great  truths  and  les- 
sons which  these  events  were  intended  to  establish  in  the  minds  of  men 
through  all  generations. 

A study  of  the  figures,  grouping  and  expressions,  together  with  the  well- 
executed  landscape,  shows  Dietrich  to  have  been  a profound  student  as  well 
as  a great  artist. 


No.  104 — “Notable  Events  in  the  Life  of  Jesus.” 

26x35. 

From  the  collection  of  Alberto  Remond,  of  Caiffa,  Syria,  taken  there 
with  him  when  appointed  minister  from  France. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


73 


On  the  right  we  see  the  marriage  in  Cana  of  Gallilee  when  Jesus  per- 
formed His  first  miracle.  From  this  we  see  the  Apostles  healing  the  sick, 
feeding  the  hungry,  clothing  the  naked,  and  burying  the  dead;  thus  follow- 
ing out  the  teachings  of  the  Master:  “A  new  commandment  I give  unto 

you,  that  you  love  one  another.”  How  well  the  Apostles  understood  this 
is  shown  in  James’s  saying:  “Pure  religion  and  undefiled  before  God  and 

the  Father  is  this,  To  visit  the  fatherless  and  the  widows  in  their  distress 
and  to  keep  himself  unspotted  from  the  world.”  Upon  these  works  of  char- 
ity, of  friendship,  of  love,  He  would  establish  His  church. 

The  great  artist  has  placed  his  church  at  the  last  in  the  line  to  show 
the  idea  of  its  having  been  established  upon  the  one  grand  principle  of  un- 
feigned charity,  that  sees  in  any  human  being  a brother  man,  and  not  the 
evil  things  that  have  encompassed  him.  The  figures  in  this  old  painting  are 
remarkably  wrell  drawn,  the  colors  are  soft  and  harmonious,  and  the  whole 
composition  exceedingly  well  and  artistically  done. 


No.  105 — “Christ’s  Head  on  Napkin.” 

21x17. 

There  is  a tradition  that  when  Christ  was  laid  in  the  sepulchre  that 
a napkin  was  placed  over  his  face,  which  when  found  after  the  resurrec- 
tion, had  upon  it  in  dim  outlines,  a perfect  likeness  of  the  face  of  Jesus 
as  it  appeared  in  death.  In  deference  to  this  tradition,  Dietrich  conceived 
this  extraordinary  picture.  It  will  be  observed  that  the  face  is  painted 
upon  the  picture  of  a small  linen  napkin.  A casual  look  shows  only  the 
outline  of  the  face  as  it  would  appear  in  death,  while  the  eyes  sunken  and 
closed,  but  upon  looking  carefully  at  the  picture  from  certain  angles,  the 
beholder  will  be  surprised  to  find  that  the  eyes  are  open  and  looking  di- 
rectly at  them.  Dietrich  painted  many  religious  works,  and  it  is  generally 
believed  he  painted  this  while  keeper  of  the  Dresden  Gallery. 


DOLCI  (Carlo). 

Born  in  Florence,  May  25,  1616. 

Died  there  January  17,  1686. 

Florentine  School;  studied  with  Jacopo  Vignali. 

“Charles  Blanc  calls  him  the  true  representative  of  Jesuitical  art.  The 
tone  of  his  coloring  is  generally  adapted  to  the  character  of  his  subjects, 
being  always  soft  and  harmonious.  Some  of  his  female  figures  are  better 
than  any  of  his  male  subjects.  He  was  the  last  of  the  Florentine  school, 
as  well  in  style  and  taste  as  in  point  of  time.” 

— Cyclopedia  of  Painters  and  Paintings. 

“He  painted  pleasing  and  highly  finished  pictures,  chiefly  confined  to 
devout  subjects  and  most  frequently  representing  heads  of  our  Saviour  and 
of  the  Virgin.  These  are  not  so  much  admired  for  the  particular  beauty  of 
character,  as  for  soft  and  tranquil  expression  of  devotion  in  the  patient  suf- 
fering of  Christ,  the  plaintive  sorrow  of  Mater  Dolorosa,  or  the  compunc- 
tion of  a saint  in  penitence.  Subjects  of  that  description  he  has  treated  with 
great  delicacy  and  tenderness.  The  general  tone  of  his  coloring  is  well  ap- 
propriated to  the  character  of  his  subjects,  nothing  is  harsh  or  obtrusive; 


74 


T.  B.  WALKER  COLLECTION. 


all  is  modest,  placid  and  harmonious.  He  generally  painted  in  a small  size, 
though  there  are  some  pictures  by  him  as  large  as  life  at  Florence,  of  which 
the  principal  are,  the  St.  Anthony,  in  the  Florentine  gallery;  the  Conception, 
in  the  collection  of  the  Marchesi  Riccardi;  and  the  St.  Sabastian,  in  the  Corsini 
palace.  There  is  a fine  picture  of  Christ  Breaking  the  Bread,  in  the  collec- 
tion of  the  Marquis  of  Exeter,  at  Burleigh.  His  small  pictures  of  heads  of 
the  Madonna  are  numerous,  and  are  highly  valued  by  the  admirers  of  pol- 
ished and  laborious  finishing.,  There  are  many  of  his  pictures  in  England, 
besides  that  at  Burleigh,  and  they  obtain  very  high  prices  in  public  sales." 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“He  was  particularly  fond  of  painting  sacred  subjects,  and  his  works 
are  easily  distinguished,  not  so  much  by  any  superiority  to  other  great  artists 
in  design  or  force,  as  by  delicacy  with  which  he  perfected  all  his  composi- 
tions by  a pleasing  tint  of  color,  improved  by  a judicious  management  of 
a chiaro-oscuro  which  gave  his  figures  a surprising  relief,  by  the  graceful  air 
of  his  heads,  and  a general  harmony,  accompanied  with  exquisite  finishing. 
His  pencil  was  tender,  his  touch  inexpressibly  neat,  and  his  coloring  trans- 
parent, though  he  has  often  been  censured  for  the  excessive  labor  bestowed 
on  his  pictures."  — Pilkington’s  Dictionary  of  Painters. 

“His  works  were  distinguished  for  their  appropriate  composition  and 
expression,  for  their  pleasing  coloring,  improved  by  a judicious  management 
of  the  chiaro-scuro,  which  gives  his  figures  a surprising  relief,  for  the  graceful 
air  of  his  heads,  and  for  their  general  harmony  and  exquisite  finishing.  The 
soft  and  tranquil  expression  of  resignation  or  devotion  in  the  patient  suf- 
ferings of  Christ,  the  plaintive  sorrow  of  the  Mater  Dolorosa,  the  compunc- 
tious visitings  of  conscience  in  his  Magdalens,  are  all  treated  with  great 
delicacy  and  tenderness.  His  pencil  was  delicate,  his  touch  inexpressibly 
neat,  his  coloring  transparent.  He  has  been  censured  for  bestowing  im- 
mense labor  on  his  works,  and  for  giving  his  carnations  more  of  the  appear- 
ance of  ivory  than  of  flesh.  In  his  manner  of  working  he  was  remarkably 
slow,  and  it  is  reported  of  him  that  his  brain  was  affected  on  seeing  Luca 
Giordano  despatch  more  work  in  four  or  five  hours  than  he  could  have  done 
in  so  many  months.  He  generally  painted  in  small  size,  though  he  executed 
some  works  of  the  size  of  life."  — Spooner's  History  of  the  Fine  Arts. 


No.  106 — “The  Light  o£  the  World” 

16^x14^. 

From  Collection  of  J.  Goddard,  Esq.,  North  Hampstead. 

In  the  center  of  the  picture,  apparently  standing  out  from  the  canvas, 
as  a bas  relief,  is  the  infant  Jesus  and  His  mother.  The  hands  and  face  of 
the  latter — although  some  270  years  have  intervened  since  the  painter’s  brush 
modeled  them — have  the  appearance  of  ivory,  while  the  expression  of  loving 
veneration  has  probably  never  been  excelled. 

The  figure  of  the  Child,  although  small,  is  not  only  beautiful  but  ex- 
tremely natural  in  flesh  tint  and  figure. 

Practically  all  the  light  within  the  modest  stable  seems  to  radiate  from 
the  lowly  cot  of  the  Divine  Infant — the  reflections  bringing  dimly  to  view 
the  outlines  of  the  building  and  the  gentle  cow  reposing  upon  the  stable  floor. 

The  painting  shows  not  only  the  patient  work  of  the  master,  but  a ven- 
eration almost  equal  to  worship  in  its  production. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


75 


No.  107— “The  Madonna.” 

Oval,  30x25^4. 

From  the  collection  of  Lord  Buckland. 

The  portrait  is  that  of  a young  woman  with  perfect  oval  face,  classic 
features  and  with  downcast  eyes.  A sombre  brown  wrap  covering  the  well- 
poised  head  is  being  held  at  the  breast  by  the  half  folded  hands.  Over  this  is 
thrown  a royal  blue  scarf,  hanging  in  soft  folds  over  the  graceful  shoulders, 
partially  hiding  the  plain  red  gown.  The  whole  figure  is  elegantly  drawn 
and  most  artistically  colored.  Each — and  it  is  safe  to  say,  everyone — of  the 
great  masters  used  as  models  for  the  Madonnas,  either  a revered  mother,  a 
dear  sister,  a sweetheart,  or  a loving  wife.  Dolci,  it  will  be  remarked,  was 
most  fortunate  in  his  selection  of  a subject  for  this  splendid  picture,  and  the 
sincerity  of  feeling,  coupled  with  the  charming  innocence  expressed  in  the 
beautiful  face,  is  ample  proof  that  his  model  was  some  one  no  less  dear  than 
wife  or  sweetheart.  ’Tis  said  that  “All  the  world  loves  a lover,”  but  Dolci 
had  learned  also  that  all  the  world  would  love  the  beloved,  and  therefore 
paints  into  the  truly  sweet  face,  a depth  of  soul  and  modest  sentiment  that 
at  once  appeals  to  every  eye,  and  mysteriously  reaches  to  every  heart. 

DOBSON  (Sir  William). 

Born  at  Holborn  in  1610. 

Died  in  London,  October  28,  1646. 

“After  Vandyck’s  death,  Dobson  became  sergeant-painter  and  groom  of 
the  privy  chamber.  He  painted  Charles  I,  Charles  II,  Prince  Rupert,  and 
many  other  notable  personages.”  — Cyclopedia  of  Painters  and  Paintings. 

“Sir  Joshua  Reynolds  speaks  of  him  as  one  of  the  greatest  artists  Eng- 
land has  produced.  His  touch  was  bold  and  free,  his  coloring  warm  and  har- 
monious, and,  though  inferior  to  Vandyck  in  the  gracefulness  of  his  figures, 
yet  he  gave  a life,  dignity  and  truth  to  his  portraits  which  has  seldom  been 
surpassed.  His  works  are  highly  esteemed,  and  are  to  be  found  only  in  the 
big  galleries  and  the  collections  of  the  nobility  of  England.  Specimens  can 
be  seen  in  the  superb  galleries  at  Wilton,  Belvoir,  Chatsworth,  Blenheim, 
Stowe,  Windsor,  Chiswick,  Devonshire  House,  Castle  Donninton,  Althorpe, 
etc.”  — Spooner's  History  of  the  Fine  Arts. 

“Vandyck,  passing  a shop  on  Snowhill,  perceived  a picture  exposed  for 
sale  in  the  window  which  had  sufficient  merit  to  excite  his  curiosity  to  dis- 
cover the  painter,  whom  he  found  at  work  in  a miserable  garret.  The  well 
known  liberality  of  Vandyck  soon  relieved  him  from  his  wretched  situation; 
he  afterwards  introduced  him  to  the  king,  and  zealously  recommended  him 
to  his  Majesty’s  protection.  On  the  death  of  Vandyck,  Dobson  was  ap- 
pointed sergeant-painter  to  the  king,  whom  he  accompanied  to  Oxford,  where 
he  painted  his  portrait,  that  of  Prince  Rupert  and  several  of  the  nobility. 

“Of  the  painters  of  his  time,  Dobson  appears  to  have  approached  nearest 
to  the  excellent  Vandyck.  His  portraits  are  faithful  transcripts  of  nature, 
and  although  he  was  not  equally  successful  in  his  historical  pictures,  the 
few  of  them  that  he  painted  are  not  without  considerable  merit.  One  of 
his  best  works  in  history  is  the  ‘Decollation  of  St.  John,’  at  Wilton.  Several 
portraits  by  Dobson  are  in  the  Northumberland  House,  at  Chatsworth,  in 
Devonshire  House,  and  other  mansions  of  nobility.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 


76 


T.  B.  WALKER  COLLECTION. 


“Charles  I distinguished  him  by  the  name  of  the  English  Tintoret.  While 
at  Oxford,  he  also  painted  the  portraits  of  the  Prince  of  Wales,  Prince  Ru- 
pert, and  many  of  the  nobility. 

“He  was  certainly  one  of  the  most  eminent  painters  of  his  time,  and  an 
equal  honor  to  the  art  and  to  his  native  country.  His  manner  is  bold  and 
free  and  has  an  abundance  of  sweetness  with  a charming  tone  of  color;  and 
though  inferior  to  Vandyck  in  the  gracefulness  of  his  figures,  yet  he  gave 
life,  dignity,  and  sentiment  to  his  portraits;  and  for  truth,  character  and  re- 
semblance few  have  surpassed  him.”  — Pilkington’s  Dictionary  of  Painters. 

“The  portraits  by  him  are  warmer  in  color  than  those  by  Vandyck,  but 
they  are  lifelike,  and,  it  is  said,  were  capital  likenesses.” 

— Painters  and  Their  Works. 


No.  108 — “Admiral  Robert  Blake.” 

27x23 H. 

Celebrated  British  Admiral,  born  at  Bridgewater  in  Somersetshire,  about 
1599.  Educated  at  Oxford,  he  was  elected  to  Parliament  in  1640;  was  ap- 
pointed “General  of  the  Sea”  in  1649,  and  after  many  victories  he  resigned 
about  1654,  and  became  a member  of  the  first  two  parliaments  summoned 
by  Cromwell.  In  1656  he  destroyed  the  Spanish  fleet  at  Cadiz.  He  is  con- 
sidered as  the  founder  of  the  naval  supremacy  of  England.  He  died  about 
1657. 

The  features  are  clearly  defined,  the  coloring  true  to  nature,  and  the 
whole  delicately  finished. 

No.  109— “The  Earl  of  Pembroke.” 

29x24 54. 

From  the  S.  T.  Smith  Collection. 

(Mr.  Smith  is  the  author  of  Catalogue  Raisonne.) 

William  Herbert,  Earl  of  Pembroke.  Born  at  Wilton,  England,  in  1580. 
Was  Lord  Steward  of  the  king’s  household  about  1626.  He  is  supposed  to 
be  the  person  to  whom  Shakespeare’s  sonnets  were  addressed.  Pembroke 
College  was  named  in  honor  of  him.  He  died  in  1630. 

While  the  colorings  are  warm  and  modest,  yet  the  outlines  are  clear  and 
distinct;  and  the  life,  dignity  and  grace  given  to  form  and  feature,  indicate 
this  one  of  the  best  productions  of  one  of  England’s  greatest  painters. 


No.  1 10 — “Earl  of  Winchester.” 

30x25. 

Charles  Paulet,  son  of  John  Paulet,  Fifth  Marquis  of  Winchester. 
Charles  became  the  Sixth  Marquis  upon  the  death  of  his  father  in  1674,  but 
being  then  about  seventy  years  of  age  he  died  in  1689.  The  portrait  was 
painted  while  he  was  Earl,  likely  between  1641  and  1645,  as  Dobson  was  ap- 
pointed Court  Painter  upon  the  death  of  Vandyck  in  1641.  A very  life-like 
portrait,  in  the  usual  soft  colors  of  this  noted  portrait  painter. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


77 


No.  Ill — “Henrietta  Maria,  Queen  of  England/’ 

1934x16. 

From  the  collection  of  General  Bulwer. 

Queen  of  England,  wife  of  Charles  I.  She  was  born  in  Paris,  November 
25,  1609.  She  was  the  youngest  child  of  Henry  IV  of  France  by  his  second 
wife,  Maria  de  Medici.  On  March  30,  1625,  she  was  married  at  Paris  by 
proxy  to  Charles  I,  king  of  England,  only  a few  days  after  his  ascension  to 
the  throne.  She  very  soon  gained  the  affections  of  her  husband,  and  the 
great  influence  she  gained  over  him  became  obnoxious  to  the  English  nation 
by  her  undisguised  partiality  to  the  Catholic  faith.  In  1644,  a few  days  afteri 
the  birth  of  her  last  child,  Henrietta  Anna,  she  narrowly  escaped  being  taken 
prisoner  by  Essex  and  fled  to  France,  where  she  suffered  many  hardships, 
although  receiving  a pension  from  the  French  government.  She  died  sud- 
denly at  her  house  in  Columbus,  France,  on  September  10,  1669,  her  body 
being  buried  in  the  Abbey  of  St.  Denis  with  the  exception  of  her  heart,  which 
was  entrusted  to  the  nuns  of  the  Marie  de  Chaillot.  This  portrait  of  the 
queen  was  painted  about  1635,  only  a few  years  after  her  marriage  to  Charles 
I,  and  as  Dobson  gave  truth  and  character  to  all  his  portraits,  the  picture  is 
without  doubt  a true  likeness  of  the  queen  at  this  period.  The  painting  is 
done  in  this  great  English  master’s  charming  tone  and  unusual  individuality. 

DUGHET  (Gaspard) (“Poussin”) 

Commonly  called  Gaspard  Poussin. 

Born  at  Rome,  1613. 

Died  there  in  1675. 

Student  of  his  brother-in-law  Nicholas  Poussin. 

Influenced  in  his  later  works  by  Claude  Lorraine. 

“His  parents  were  French  subjects  who  had  settled  in  the  Eternal  City. 
They  appear  to  have  been  people  of  a kindly  disposition,  for  about  1629 
they  received  into  their  house  their  fellow  countryman  Nicholas  Poussin, 
then  a lonely  and  friendless  student  in  Rome,  and  nursed  him  tenderly 
through  a dangerous  illness.  This  friendship  brought  about  the  great  paint- 
er’s marriage  with  a daughter  of  his  host.  Nay,  more,  Poussin  seeing  the 
inclination  of  the  young  Gaspard  towards  art,  took  him  as  his  pupil,  and  for 
three  years  carefully  superintended  his  instruction. 

“After  leaving  Poussin’s  studio,  his  independent  nature  led  him,  though 
scarcely  yet  twenty,  to  set  up  for  himself.  * * * He  spent  a year  at  Pe- 

rugia and  Castiglione  with  the  Duke  della  Cornia,  who  treated  him  with  great 
consideration  and  escorted  him  back  to  Rome.  * * * He  made  a trip  to 

Milan,  * * * followed  by  visits  to  Florence,  * * * and  to  Naples,  be- 
fore he  once  more  settled  down  in  Rome.  This  point  may  be  said  to  mark 
the  conclusion  of  the  first  period  of  Dughet’s  art,  during  which  the  works 
produced  by  him  are  to  be  distinguished  by  a coldness  and  certain  want  of 
freedom.  He  now  came  under  the  influence  of  Claude  Lorraine  at  this  time 
in  the  zenith  of  his  fame  at  Rome. 

* * * His  partiality  for  quiet  lights  should  first  be  mentioned.  He 

excels  in  the  representation  of  effects  before  sunrise,  and  in  the  reproduc- 
tion of  the  peaceful  tones  of  evening.  * * * The  leaves  seem  to  move 

and  the  trees  to  cease  to  be  inanimate  objects  under  his  brush.”  * * * 

— Painters  and  Engravers 


78 


T.  B.  WALKER  COLLECTION. 


“Gaspard  Poussin’s  landscapes  approach  nearer  to  nature — that  is  to 
say,  have  less  of  what  is  termed  ‘classical’  than  Claude  Lorraine’s,  but  they 
look  heavy  when  placed  alongside  of  those  of  his  great  rival.  His  ‘The  Call- 
ing of  Abraham’  brought  $9,975.00  at  the  Sir  P.  Miles  sale  in  1882.” 

— Painters  and  Their  Works. 


No.  112 — “The  Hilly  Country  Near  Jerusalem.” 

30x45. 

Originally  from  the  collection  of  Lord  Buckland.  Later  in  an  old  New 
York  collection  stored  for  a number  of  years  and  only  recently  offered  for 
sale. 

The  country  aptly  described  by  Moses  as  “A  land  of  hills  and  valleys.” 
The  whole  of  Palestine  or  Holy  Land  is  mountainous,  being  traversed  by  a 
portion  of  the  Lebanon  chain,  Mount  Hermon,  about  one  hundred  miles 
north  from  Jerusalem,  reaching  an  altitude  of  9,100  feet,  but  none  of  the 
others  being  above  four  thousand  feet.  In  the  center  of  the  picture  two 
women  are  seated  upon  the  ground,  while  a man  stands  calling  to  their  at- 
tention the  approaching  messenger.  Farther  away  two  men  are  bathing  in 
the  mountain  stream,  which  goes  rushing  on  its  devious  course  to  the  sea, 
o’ershadowed  by  spreading  trees  which  border  the  winding  shores.  Beyond, 
the  rugged  hills  rise  abruptly  from  the  wooded  valleys,  their  gray  summits 
in  many  instances,  being  crowned  by  a quaint  castle  or  a ruined  tower, 
and  touched  by  the  mellow  light  of  early  morning. 


DURER  (Albrecht). 

Born  at  Nuremberg,  May  21,  1471. 

Died  at  Nuremberg,  April  6,  1528. 

Pupil  of  Michael  Wolgemuth,  1486-1490. 

The  great  representative  painter  of  Germany,  was  of  Hungarian  descent, 
and  perhaps  connected  with  a Hungarian  family  named  Ajtos  who  had  lived 
for  many  generations  in  a little  village  of  the  same  name  (Eytas,  as  Durer 
wrote  it)  near  Gyula.  This  name  of  Ajtos,  derived  from  “ajto”  (a  door), 
signifies  the  same  as  the  German  “Thurer”  or  “Durer.”  * * * It  is  sig- 

nificant that  Durer  bore  the  same  arms;  namely,  the  open  door  under  a 
pent-house  roof.  * * * 

During  this  period;  namely,  from  1494  to  1505,  he  executed  several  of 
his  larger  copper  plates.  * * * Durer’s  connection  with  the  Emperor 

Maximillian  I began  in  1512  and  continued  till  his  patron’s  death,  in  1519. 
* * * Durer’s  art  is  essentially  German  in  character,  and  those  who  admire 

the  Italian  ideal  find  nothing  in  it  to  desire.  * * * “In  creative  richness 

of  fancy,  in  extensive  power  of  thought,  and  in  moral  energy,  and  in  earnest 
striving,  Durer,”  writes  Lubke,  “must  be  called  the  first  of  all  German  mas- 
ters, and  as  regards  artistic  gifts,  need  fear  no  comparison  with  any  master 
in  the  world,  even  with  Raphael  and  Michelangelo.” 

This  is  no  doubt  true  to  some  extent.  We  do  not  find  in  Durer’s  art  the 
classic  ideal,  or  the  perfection  of  man’s  physical  nature,  nor  the  spiritual 
ideal  of  the  early  religious  painters,  nor  the  calm  dignity  and  rich  sensous 
beauty  of  the  great  masters  of  Italian  Renaissance,  but  in  it  we  find  a noble 


INDEX  AND  BIOGRAPHICAL  NOTES. 


79 


expression  of  the  German  mind,  with  its  high  intellectual  powers,  its  daring 
speculative  philosophy,  its  deep-seated  reverence,  its  patient  laboriousness, 
and  its  love  for  the  wierd  and  grotesque.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“From  1505  to  1507  he  lived  at  Venice  where  he  was  much  esteemed  as 
a painter,  and  though  he  lost  none  of  his  German  spirit,  felt  the  charm  of 
the  Italian  Renaissance  masters,  Bellini  and  Montegna,  whose  influence  he 
showed  in  his  subsequent  works.  He  attended  the  coronation  of  Charles  V at 
Aix-la-Chapelle  and  obtained  the  appointment  of  court  painter  before  his 
return  to  Nuremberg  where  he  continued  to  work  until  his  death.” 

— Cyclopedia  of  Painters  and  Paintings. 

No.  113 — “The  Crucifixion.” 

1354x10. 

From  the  collection  of  T.  L.  Conklin,  New  York. 

“And  when  they  were  come  unto  a place  called  Golgotha,  that  is  to 
say,  a place  of  a skull,  * * * they  crucified  Him,  and  parted  his  gar- 
ments, casting  lots;  that  it  might  be  fulfilled  which  was  spoken  by  the 
prophet,  “They  parted  my  garments  among  them,  and  upon  my  vesture  did 
they  cast  lots.”  * * * Jesus,  when  He  had  cried  again  with  a loud  voice, 
yielded  up  the  ghost,  and  behold,  the  vail  of  the  temple  was  rent  in  tzvain 
from  the  top  to  the  bottom;  and  the  earth  did  quake,  and  the  rocks  rent. 
And  the  graves  were  opened;  and  many  bodies  of  the  saints  which  slept, 
arose.  * * * Now,  when  the  centurion  and  they  that  were  with  him 

watching  Jesus,  saw  the  earthquake,  and  those  things  that  were  done,  they 
feared  greatly,  saying,  Truly  this  was  the  Son  of  God.”  For  three  hours 
(from  the  sixth  to  the  ninth)  a pall  of  darkness  was  over  the  whole  land, 
and  over  yonder,  almost  in  the  shadow  of  the  cross  is  Jerusalem,  with  the 
magnificent  temple  of  Soloman,  wherein  the  vail  which  separated  the  world 
from  the  holy  of  holies,  or  the  throne  of  God’s  grace,  was  rent  in  twain 
from  the  top  to  the  bottom,  as  the  Great  High  Priest  had  made  an  offering 
of  Himself  for  all  men,  and  for  all  time,  opening  the  way,  that  whosoever 
will,  might  come  into  the  presence  of  his  God  without  further  mediation  or 
further  offerings.  Durer  has  put  upon  this  small  canvas  a graphic  picture 
of  this  all-important  moment,  without  doubt  the  most  momentous  in  the 
whole  history  of  the  human  race. 

DUPRE  (Julien). 

French  School. 

Born  in  Paris,  March  17,  1851. 

Landscape  and  Genre  Painter. 

Pupil  of  Pils,  Lehman  and  Laugee. 

Medals  Third  Class,  1880;  Second  Class,  1882. 

No.  lid — “Landscape. 

25x36. 

This  magnificent  landscape  is  from  Southern  France.  Time  is  midsum- 
mer when  kind  nature  bestows  her  richest  bounties  upon  the  hills  and  in  the 


80 


T.  B.  WALKER  COLLECTION. 


valleys  and  the  lights  and  shadows  chase  each  other  o’er  the  blossoming 
trees  and  the  broad  expanse  of  waving  grass.  In  the  distance  are  several 
groups  of  cattle  beyond  the  rustic  bridge  which  marks  the  course  of  the 
roadway  across  the  meadows.  In  the  foreground,  a young  peasant  girl, 
with  stick  in  hand,  seems  to  give  her  attention  to  some  cows  and  sheep 
resting  on  the  flower  decked  shore  of  the  crystal  pond,  while  immediately 
in  the  rear,  partially  hidden  by  spreading  trees,  is  the  humble  home.  The 
verdure  is  not  overdone;  the  painter  simply  reproduced  nature  as  he  found 
it  in  this  sun-kissed  Southern  clime. 


DUPRE  (Jules) France 

Born  at  Nantes,  in  1812. 

Landscape  painter.  One  of  the  most  original  and  powerful  of  the  modern 
French  or  Barbizon  School  of  Painters. 

“That  he  carries  love  of  nature  to  exaltation,  he,  equally  with  Corot,  de- 
picts in  landscape  what  he  has  felt  as  well  as  what  he  has  seen.  * * * 

Under  his  feeling  all  parts  of  a scene  are  softened  into  a harmonious  whole, 
and  exactness  of  detail  is  subordinated  to  the  interpretation  of  impression. 
Nevertheless,  he  accepts  nature  on  her  own  conditions  in  the  main,  and,  like 
Constable,  whose  methods  formed  his  most  important  instruction,  in  securing 
the  reality  he  secures  the  charm.” 

— A History  of  French  Painting,  by  C.  H,  Stranahan. 

No.  115 — “Evening.” 

12x1514. 

No  doubt  a scene  in  Brittany.  The  shepherd  has  brought  his  flocks  and 
his  cattle  from  the  fields  and,  while  the  good  wife  milks  the  cows,  he  and 
the  lazy  sheep  rest  themselves  upon  the  grass.  On  the  shore  of  the  winding 
river,  moss  grown  and  quaint,  stands  the  humble  cottage  only  partially 
visible  in  the  shadows  of  overhanging  trees.  In  the  west,  the  setting  sun 
reflects  his  glory  upon  the  white  capped  clouds  and  tints  to  gold  the  mea- 
dows and  the  crested  hills. 


No.  116 — “A  Summer  Idyl.” 

7x9. 

In  this  little  gem,  the  artist  presents  a shady  pasture,  with  cattle  lazily 
feeding,  while  others  are  slaking  their  thirst  at  the  running  brook. 

Although  the  design  is  small,  yet  every  detail  is  perfect. 

The  trees,  the  grazing  herd,  the  crystal  waters,  and  the  delicate  tints 
.>f  cloud  and  sky,  make  of  this  a fine  example  of  Dupre’s  smaller  paintings. 


No.  117 — “The  Coast  of  Brittany.” 

19x23. 

On  the  right,  one  huge  precipitous  rock  stands  like  a sentinel  on  the 
long  stretch  of  sandy  beach.  Three  sails  are  in  sight,  one  almost  hidden  in 


INDEX  AND  BIOGRAPHICAL  NOTES. 


81 


the  dark  shadow  of  the  heavy  cloud  approaching  in  the  distance.  A light 
breeze  drives  small  white-capped  waves  upon  the  shore,  while  the  ominous 
clouds  indicate  an  approaching  storm.  A fine,  strongly  colored,  beautiful 
painting. 


No.  118 — “The  Drinking  Pool.” 

25x32. 

Characteristic  example  of  the  Barbazon  School.  The  drinking  pool,  al- 
though occupying  a central  position  in  the  picture,  cannot  be  considered 
the  principal  object  around  which  the  picture  is  painted,  as  it  is  so  perfectly 
balanced,  that  the  elimination  of  any  object  or  touch  of  color,  would  mar 
the  whole  beautiful  composition.  It  is  a poem  of  nature,  every  line  of 
which  is  in  perfect  rythm,  and  all  its  parts  in  such  complete  metre,  that  it 
is  extremely  difficult  to  consider  it  except  in  its  entirety.  The  scene  is  no 
doubt  one  of  the  many  beauty  spots  near  the  forest  of  Fountainbleau,  some 
thirty  miles  southwest  from  Paris.  The  peasant  woman  rests  in  the  shade 
of  some  friendly  trees,  while  her  three  cows  regale  themselves  in  the  drink- 
ing pool,  all  but  hid  from  view  by  overhanging  branches.  The  time  is 
early  autumn  when  all  nature  is  clothed  in  her  coat  of  many  colors,  and 
forest  and  field  made  glad  with  the  joyful  songs  of  ever  happy  birds. 

DUPRE  (Leon  Victor). 

Born  at  Limoges  (Haute-Vienne),  June  18,  1816. 

Landscape  painter. 

Brother  and  pupil  of  Jules  Dupre. 

No.  119 — “The  Wooded  Pasture.” 

6x8. 

In  the  center  of  the  picture  is  a beautiful  oak  tree,  and  from  beneath 
its  roots  a spring  of  sparkling  water  bubbles  up  into  a running  brook  from 
which  some  cows  are  drinking.  Other  cattle  are  scattered  in  various  por- 
tions of  the  shady  pasture  beyond,  and  all  nature  seems  glad  under  the  vari- 
colored sky  of  a summer  day. 


VAN  DYCK  (Sir  Anthony). 

Flemish  School. 

English  School. 

Born  at  Antwerp,  1599. 

Died  in  England,  1641. 

Pupil  of  Rubens. 

“He  is  chiefly  distinguished  as  a portrait  painter,  although  he  executed 
many  historical  paintings.  Wornum  says:  ‘As  a portrait  painter  Van  Dyck 

is  generally  allowed  to  dispute  the  palm  with  Titian.  His  portraits  are  in- 


82 


T.  B.  WALKER  COLLECTION. 


ferior  to  Titian’s  in  color  and  in  solidity  of  effect.  In  all  other  respects  Van 
Dyck  was  fully  equal  if  not  superior  to  the  great  Venetian  painter.’  ” 

— Hoyt's  The  Historic  Schools  of  Painting. 

“Inferior  to  Rubens  in  imagination  and  energy  of  character,  he  excelled 
him  in  feeling  for  spiritual  beauty,  in  elevation  of  sentiment  and  refinement 
of  execution.  Van  Dyck  was  pre-eminently  a portrait  painter,  and  as  such 
is  admitted  to  rank  with  Titian;  but  he  also  attained  to  high  excellence  in 
the  treatment  of  sacred  subjects. 

“In  portraiture  Van  Dyck  rises  to  the  greatest  height,  and  fears  no 
rival  but  Titian,  Holbein,  Velasquez  and  Rembrandt.” 

— D’ Anvers’  Elementary  History  of  Art. 

“Van  Dyck’s  best  work  is  in  portraiture,  and  he  is  one  of  the  most  ac- 
complished masters  of  that  art.  First  in  Italy,  and  then  at  the  court  of 
Charles  I.  of  England,  he  had  frequent  opportunity  to  immortalize  the 
princes,  the  prelates  and  the  brilliant  aristocracy  of  his  time.  All  of  these 
pictures  are  remarkable  for  a thoroughly  dignified  conception,  a wonderful 
refinement  of  psychological  portraiture  and  for  the  charms  of  their  in- 
comparably clear,  soft  and  finely-treated  coloring.” 

— Lubke’s  ((The  History  of  Art.” 

“Refined,  elegant,  exquisite  in  taste  and  sweet  in  color,  his  is  almost  un- 
rivalled. His  hands  are  noted  for  their  beauty,  his  heads  unconstrained  and 
full  of  life  and  truth;  the  action,  simplicity  and  dignity  of  his  figures  and 
grace  of  his  draperies  are  unsurpassed.” 

— Redgrave’s  Dictionary  of  Artists  of  the  English  School. 

“In  portraiture  Van  Dyck  will  not  be  denied  the  most  honorable  place 
after  Titian,  and  it  will  then  be  admitted  that  Titian  only  retains  this  supe- 
riority in  the  heads  of  his  portraits,  and  that  in  the  hands  and  accessories  he 
was  inferior  to  our  painter,  both  in  correctness  and  elegance.  His  attitudes 
are  easy  and  natural,  and  they  captivate  by  an  air  of  unaffected  simplicity 
for  which  his  portraits  are  singularly  remarkable.  His  heads  are  full  of 
life  and  expression,  without  anything  of  the  coldness  and  insipidity  which 
are  frequently  found  in  the  productions  of  the  portrait  panter.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“According  to  Fuseli,  Van  Dyck  deserves  the  next  place  after  Titian  in 
portrait  painting.  Inferior  to  that  master  in  richness  and  warmth  of  coloring, 
he  surpassed  him  in  almost  every  other  respect.  He  is  unrivalled  for  the 
delicate  drawing  and  beauty  of  his  hands;  he  was  a perfect  master  of  drawing 
and  chiaroscuro;  he  was  admirable  in  draperies;  with  simplicity  of  expression 
and  graceful  attitudes  he  combined  both  dignity  and  individuality;  his  heads 
are  full  of  life  and  expression  without  anything  of  the  coldness  and  insipidity 
which  are  frequently  found  in  the  productions  of  the  portrait  painter.” 

— Spooner’s  History  of  the  Fine  Arts. 

“No  master  from  beyond  the  Alps  ever  took  up  a higher  position  than 
Van  Dyck  among  the  most  celebrated  representatives  of  Italian  art. 

“Van  Dyck  is  one  of  the  most  brilliant  figures  in  the  history  of  art. 
That  he  should,  in  the  same  subjects  chosen  by  Rubens,  have  attained  the 
same  degree  of  expression  was  scarcely  possible.  Rubens  was  exceptional 
precisely  through  the  sweep  and  power  of  his  imagination;  but  Van  Dyck, 
applying  the  same  principles  to  portrait  painting,  was  no  less  exceptional. 
Titian,  Raphael,  Rembrandt,  Velasquez,  and  Frans  Hals  are  not,  on  the 
whole,  superior  to  him  in  this  branch.  They  often  delight  us  with  their  tech- 


INDEX  AND  BIOGRAPHICAL  NOTES. 


83 


nical  excellence  or  penetrating  study  of  individuality,  but  their  conception  re- 
mains entirely  different  from  that  of  Van  Dyck.  With  him,  as  with  Rubens, 
physiognomical  interpretation  is  so  intimately  connected  with  picturesque 
necessity  that  his  portraits  scarcely  ever  fail  to  leave  an  indelible  impression 
on  the  mind.”  — Encyclopedia  Britannica. 

No.  120— “Children  of  Charles  I.” 

48x41. 

From  the  Collection  of  the  Duke  of  Sutherland,  Trenham  Hall, 

Stoke  on  Trent. 

The  children  are  Prince  Charles,  who  became  King  Charles  II,  Prince 
James,  who  became  King  James  II,  and  Princess  Elizabeth.  A beautiful  and 
interesting  portrait  in  Van  Dyck’s  finely  treated  coloring. 

No.  121 — “Portrait  of  a Jewish  Rabbi.” 

32x26. 

From  the  collection  of  Dr.  Thompson,  of  Sheffield.  Has  been  always 
regarded  as  a genuine  painting  by  Van  Dyck  and  has  all  the  excellent  qual- 
ities and  characteristics  of  this  great  painter.  The  collection  contained  a 
considerable  number  of  very  fine  genuine  paintings  of  the  leading  English 
artists. 

This  portrait  represents  a jewish  Rabbi  with  his  hat  on,  and  his  hand  to 
his  face.  It  is  characteristic  of  Van  Dyck,  as  he  was  most  noted  for  his 
painting  of  the  hands.  The  picture  is  very  finely  drawn,  remarkably  natural 
in  color  and  one  of  his  characteristic  portraits.  It  stands  well  its  compari- 
son with  the  Rembrandt  and  Hans  Plolbein  portraits  of  this  gallery.  These 
three  artists  rank  among  the  five  greatest  of  all  the  portrait  painters,  as 
they  are  commonly  classed  by  the  art  writers,  the  other  two  being  Frans 
Hals  and  Velasquez. 


No.  122— “Mother  and  Child.” 

48^x37. 

From  the  collection  of  Comte  Andre  de  Ganay,  Paris. 

The  remark  has  oftimes  been  repeated  by  persons  familiar  with  this 
great  master’s  works,  that  it  is  not  probable  that  there  is  in  existence  a 
more  beautiful  and  characteristic  example  of  Van  Dyck’s  peculiar  style,  than 
this  notable  painting.  The  mother,  a beautiful  woman,  just  past  the  spring- 
time of  girlhood,  is  seated,  holding  her  no  less  beautiful  child.  The  face 
is  upturned  as  if  in  supplication,  showing  to  advantage  the  classic  features 
and  the  well-formed  neck.  She  is  clothed  in  a simple  red  dress,  with  a 
robe  of  royal  blue  thrown  over  the  chair  and  lying  in  rich  folds  across  her 
lap.  The  nude  child  stands  erect  upon  the  mother’s  knee,  supported  by  her 
left  hand  under  the  arm,  and  the  right  hand  gently  holding  the  silken  wrap- 
pings against  the  chubby  form.  Redgrave,  in  his  “Dictionary  of  Artists  of 
the  English  School,”  can  safely  be  quoted  in  describing  most  graphically,  the 
splendid  painting:  “Refined,  elegant,  exquisite  in  taste,  and  sweet  in  color, 

Van  Dyck  is  almost  unrivalled.  His  hands  are  noted  for  their  beauty,  his 
heads  unconstrained  and  full  of  life  and  truth;  the  action,  simplicity  and  dig- 
nity of  his  figures  and  grace  of  his  draperies  are  unsurpassed.” 


84 


T.  B.  WALKER  COLLECTION. 


ELLIOTT  (Charles  Loring). 

Born  at  Scipio,  N.  Y.,  December,  1812. 

Died  in  Albany,  Aug.  25,  1868. 

Portrait  Painter. 

Pupil  of  John  Trumbull  and  Quidor  in  New  York. 

A.  N.  A.,  1845;  N.  A.,  1846. 

“His  pictures  are  to  be  found  in  the  State  Library  Albany, — the  Mer- 
cantile Library,  Baltimore  and  in  the  New  York  City  Hall.” 

— Cyclopedia  of  Painters  and  Paintings. 

“His  works  are  remarkable  for  fidelity  of  likeness,  and  vigorous  col- 
oring.” 

— Lip  pine  otf  s Biographical  Dictionary. 

“‘His  likenesses  are  remarkable  for  their  vigor  and  truth;  indeed  that 
of  Fletcher  Harper,  was  sent  to  the  Paris  International  Exhibition  of  1867 
as  a typical  example  of  American  portraiture.  * * * The  Head  of 

Skaneateles  Lake  is  said  to  have  been  the  only  landscape  he  ever  painted.” 

— Bryan’s  Dictionary  of  Painters  and  Paintings. 

No.  123 — “Portrait  of  Daniel  Webster.” 

29^x24^. 

Celebrated  statesman,  orator  and  jurist,  was  born  at  Salisbury,  New 
Hampshire,  January  18,  1782.  He  was  a younger  son  of  Ebenezer  Web- 
ster and  Abigail  Eastman,  both  being  persons  of  vigorous  intellect  and 
high-toned  morality.  On  account  of  delicate  health  Daniel  was  permitted 
to  pass  a great  portion  of  his  childhood  days  in  play,  which  he  greatly  en- 
joyed. However  he  loved  books  and  after  acquiring  the  rudiments  of  an 
education  at  home  in  the  common  school,  he  was  sent  in  May,  1796,  to 
Phillips  Exeter  Academy  of  which  Benjamin  Abbott  was  principal.  He  did 
not  make  much  progress  here  so  in  1797  he  left  the  academy  and  continued 
his  studies  under  Rev.  Samuel  Wood  until  August  of  the  same  year  when 
he  entered  Dartmouth  College.  Here  he  was  from  the  start  the  foremost 
man  of  his  class  and  graduated  in  August,  1801.  He  immediately  began 
the  study  of  law,  and  was  admitted  to  the  bar  in  March,  1805.  When  he 
gained  his  majority  he  joined  the  Congregational  Church,  and  zealously 
espoused  the  principals  of  the  Federalist  party. 

In  June,  T808,  he  married  Grace  Fletcher  of  Hopkinton,  N.  H.  In  No- 
vember, 1812,  he  was  elected  to  the  National  House  of  Representatives  and 
again  re-elected  in  1814.  In  1816  he  moved  to  Boston  where  he  became 
the  greatest  lawyer  of  his  age,  as  well  as  the  greatest  orator.  In  1823 
he  was  again  elected  to  Congress  and  thereafter  until  1852  was  continuously 
in  the  house  or  the  Senate  of  the  United  States  Congress.  In  stature  he 
was  tall,  his  head  and  brain  of  great  size,  his  eyes  large,  black  and  lustrous. 
He  was  greatly  distinguished  for  his  conversational  powers  and  genial  tem- 
per in  society,  and  it  would  be  a difficult  task  to  even  undertake  to  give 
an  idea  of  the  genial  affection  which  at  every  period  of  his  life  flowed  out 
from  him  in  the  domestic  circle,  and  still  more  difficult  to  paint  the  abound- 
ing gaiety  and  humor  and  fascination  of  his  early  days. 

He  died  at  Marshfield,  October  24,  1852,  leaving  one  son,  Fletcher;  his 
wife'  and  all  his  other  children  having  died  before  him. 


INDEX  AND  BIOGRAPHICAL  NOTES.  85 

FRANCAIS  (Francois  Louis) France 

Born  at  Plombieres,  1814. 

Pupil  of  Gigoux  and  Corot. 


In  1848  and  1852  this  artist  was  a member  of  the  juries  of  admission  and 

award  at  the  Salon. 

Chevalier  of  the  Legion  of  Honor,  1853. 

Officer  of  the  same,  1867. 

Medals,  1841,  1848,  1855,  1867. 

Medals  of  Honor,  1878. 

One  of  the  last  of  the  Barbazon  school. 

Rene  Menard  says  of  Frangais: 

“He  has  sought  to  translate  the  varied  expressions  which  he  has  received 
in  different  countries.  The  Campagna  of  Rome,  or  the  Environs  of  Paris, 
the  Coasts  of  Brittany  or  the  Cascades  of  Switzerland,  are,  turn  by  turn, 
analyzed  and  rendered  with  the  vigorous  exactness  of  a portrait.  Each  lo- 
cality retains  its  own  charms.” 

“ ‘The  Sacred  Woods’  was  pronounced  by  Rousseau  himself  ‘one  of  the 
most  remarkable  landscapes  of  modern  times.’  ” 

— History  of  French  Painting  (p.  250). 

No.  124— “The  Sacred  Woods.” 

22x15*4. 

A beautiful  sunset  sky  is  seen  through  the  trees  of  the  ancient  Park  of 
the  Gods  near  Rome.  The  time  is  just  after  the  sun  has  dropped  below  the 
horizon.  The  twilight  shades  have  given  the  trees,  statues,  and  figures  that 
tone  so  peculiar  to  “evening  come  before  day  has  gone.”  The  sky  in  all 
the  splendor  of  purple  and  gold  shows  through  the  trees  in  the  last  dying 
glory  of  the  summer  sunset. 

FRANCIA  (Francesco  Giacomo). 

Real  name  Francesco  di  Marco  Raibolini. 

Bolognese  School. 

Born  before  1486,  Vassari  says  1450. 

Died  in  1557. 

Student  of  his  father  Francesco  Raibolini. 

“His  masterpiece  perhaps  is  the  beautiful  Madonna  seated  with  Saints 
Francis,  Bernard,  Sebastian,  and  Maurice,  dated  1526,  in  the  Pinacoteca  at 
Bologna.  Although  his  St.  Michael  in  San  Domenico  is  also  very  fine.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“In  1512  he  was  re-elected  to  the  ‘Mastership  of  the  Guild  of  Gold- 
smiths’ and  in  1514  to  that  of  ‘Master  of  the  Four  Arts.’  It  is  said  also  that 
at  one  time  he  had  two  hundred  pupils,  and  it  is  a curious  fact  that  he 
signed  his  pictures  ‘Aurifix.’  * * * It  is  impossible  to  name  a better 

example  of  his  work  than  the  altar-piece,  and  the  lunette  forming  part  of 
which,  are  now  in  our  (English)  National  Gallery,  and  which  long  formed 
a chief  subject  for  study  among  artists  of  Bologna  who  survived  him.” 

■ — Painters  and  Their  Works. 


86 


T.  B.  WALKER  COLLECTION. 


No.  125 — “Saint  Catherine.” 

22^x17. 

From  the  collection  of  Mr.  Ferral. 

She  is  represented  as  a young  woman  with  hands  clasped  as  in  prayer. 
The  head,  with  dark  brown  hair,  is  adorned  with  a crown  and  encircled  by 
a halo.  She  is  clothed  in  a dress  of  some  very  light  material,  and  a red 
wrap  thrown  across  the  left  arm.  Back  of  the  figure  is  a landscape  with  the 
sea  in  the  distance.  This  characteristic  old  picture  is  painted  on  a panel. 


FABRITIUS  (Karel). 

Born  1624.  Died  in  Delft,  1654. 

“The  birthplace  is  not  known.  He  was  a student  of  Rembrandt,  in 
whose  school  he  was  the  fellow-pupil  of  Samuel  van  Hoogstraten.  He  was 
a painter  of  the  first  order,  especially  in  portraits,  and  was  counted  among 
the  best  in  perspective.  He  was  suddenly  killed  by  an  explosion  of  a powder 
magazine  while  painting  the  portrait  of  the  beadle  of  the  old  church  of  Delft. 

“It  is  singular  that  the  birthplace  of  this  artist,  whose  works  are  spoken 
of  as  worthy  of  Rembrandt,  is  not  known.”  — Painters  and  Their  Works. 

“Karel  Fabritius  was  of  the  Dutch  school;  pupil  of  Rembrandt  and 
painter  of  the  first  order,  especially  in  portraits.” 

— Cyclopedia  of  Painters  and  Paintings. 


No.  126— “The  Head  of  a Man.” 

23x18. 

From  the  Olden  Barnevelt  Collection. 

So  closely  did  this  apt  student  follow  the  perspective  and  color  effects 
of  his  renowned  teacher,  Rembrandt,  that  his  portraits  are  often  mistaken 
for  the  work  of  that  great  master. 

In  this  beautiful  portrait  especially,  the  features  have  the  same  delicate 
outline,  and  the  distribution  of  lights  and  shadows  show  the  touch  of  an 
artist  of  the  foremost  rank. 


FRERE  (Theodore)  - --  --  --  --  France 

Born  at  Paris. 

Pupil  of  J.  Cogniet  and  of  C.  Roquesplau. 

Exhibited  in  Salon,  1884. 

Hors  de  Concours. 


No.  127— “Camel  Train  on  the  Bank  of  the  Nile.” 

6y2xl0y2. 

On  the  banks  of  the  sacred  Nile,  a number  of  Arabs  with  their  camels 
are  encamped  for  the  night.  In  the  foreground  three  Arabs  sit  by  a fire 
preparing  the  evening  meal,  while  their  camels  rest  beneath  the  shadows  of 


INDEX  AND  BIOGRAPHICAL  NOTES. 


87 


a friendly  tree  near  by  which  they  have  pitched  their  tent.  Farther  away 
where  the  tall  palmettos  cast  their  shadows  over  the  sombre  ruins,  other 
Arabs  are  watering  their  camels  and  preparing  to  pitch  camp  for  the  night. 
Far  beyond  the  opposite  shore  of  the  great  blue  Nile,  the  hills  rise  in  a 
purple  line  against  the  setting  sun  which  appears  to  go  down  in  a golden 
halo  in  the  midst  of  the  great  desert  of  Sahara. 


FERRIER  (J.  M.  A.  Gabriel) France 

Born  at  Nimes,  1847. 

Pupil  of  Lecoq  de  Boisbaudran. 

Won  Grand  Prix  de  Rome,  1872. 

Medals,  1876  and  1878. 

Legion  of  Honor,  1884. 

No.  128 — “Hamlet  and  Ophelia.” 

38^x27. 

Hamlet,  Prince  of  Denmark,  whose  father,  the  king,  had  been  poisoned 
by  Hamlet's  uncle,  the  present  king,  aided  by  the  queen  (his  mother),  whom 
the  uncle  immediately  married;  having  come  into  possession  of  the  exact  de- 
tails of  the  murder,  determined  to  re-enact  the  tragedy  in  a play  before  the 
royal  conspirators  and  a small  number  of  attaches  and  friends.  The  king 
and  queen  have  entered,  accompanied  by  Ophelia,  Portius  and  others,  and 
when  everything  is  in  readiness,  Plamlet  joins  Ophelia  and  after  some  half 
jesting  remarks  about  his  dead  father,  a trumpet  sounds,  the  curtain  is  rung 
up,  and  a scene  enacted  showing  Hamlet’s  father  asleep  and  the  present 
king  pouring  poison  into  his  ear,  followed  immediately  after  by  the  love- 
making  and  marriage  of  his  mother  to  the  murderer. 

Ophelia  says,  “What  means  this,  my  lord?”  And  Hamlet  answers: 
“Marry,  this  is  miching  mallecho;  it  means  mischief.”  The  king  and  queen 
are  appalled  and  startled.  Later  the  king  arose  and  called  for  lights,  and  all 
left  the  room,  save  Hamlet  and  Horatio.  Hamlet  says: 

“Why  let  the  stricken  deer  go  weep, 

The  hart  ungalled  play; 

For  some  must  watch,  while  some  must  sleep; 

Thus  runs  the  world  away.” 

The  dramatic  pose  of  Hamlet  and  Ophelia,  the  guilt  and  fear  on  the 
faces  of  the  king  and  queen,  and  the  weird  scene  are  all  finely  drawn,  and 
graphically  presented  in  this  charming  picture. 


FLINCK  (Govaert). 

Dutch  historical  and  portrait  painter. 

Born  at  Cleves,  1614.  Died  in  1660. 

“He  first  studied  under  Lambert  Jacobs  and  afterwards  entered  the 
school  of  Rembrandt.  He  advanced  rapidly  and  became  one  of  the  most 
distinguished  pupils  of  the  eminent  artist.  He  soon  acquired  a high  reputa- 


88 


T.  B.  WALKER  COLLECTION. 


tion  and  was  commissioned  by  the  Magistrates  of  Amsterdam  to  execute 
many  important  works  for  the  State  House.  His  works  have  been  greatly 
admired  for  the  purity  and  sobriety  of  the  coloring  and  the  studied  and  ju- 
dicious arrangement  of  the  compositions.  One  of  his  best  works  is  Solo- 
ftion  praying  for  the  Gift  of  Wisdom  in  the  Council  Chamber  at  Amsterdam.” 

— Spooner's  History  of  the  Fine  Arts. 

“It  is  said  by  Descamps  that  Flinck,  on  seeing  one  of  the  portraits  of 
Vandyck,  renounced  that  branch  of  the  art  and  confined  himself  to  historical 
painting.  The  Burgomasters  of  Amsterdam  had  commissioned  him  to  paint 
twelve  large  pictures  for  the  town  house  of  which  he  had  finished  the  sketches 
when  he  died,  in  1660.”  — Pilkington’s  History  of  Engravers. 

“Dutch  school;  historical  and  portrait  painter;  pupil  of  Lambert  Jacob- 
zen  and  Leeuwarden,  then  of  Rembrandt,  under  whom  his  talent  developed 
so  rapidly  that  after  one  year  his  pictures  could  scarcely  be  distinguished 
from  those  of  the  master.  He  left  Rembrandt  in  1638,  and  took  the  freedom 
of  Amsterdam  in  1652.  After  Eeckhout,  he  was  the  scholar  who  approached 
nearest  to  Rembrandt.”  — Cyclopedia  of  Painters  and  Paintings. 

“Painted  historical  subjects  and  portraits,  and  in  both  he  was  one  of  the 
most  successful  and  most  employed  artists  of  his  country.  The  Magistrates 
of  Amsterdam  engaged  him  in  many  considerable  works  for  the  Stadthouse; 
and  he  painted  the  portraits  of  some  of  the  most  illustrious  personages  of 
his  time,  particularly  the  Elector  of  Brandenburg,  the  Duke  of  Cleves,  and 
Prince  Maurice  of  Nassau,  Stadtholder.  The  pictures  of  this  master,  without 
equaling  Rembrandt  in  the  richness  and  harmony  of  his  tint,  or  the  magical 
conduct  of  his  light  and  shadow,  are  to  be  admired  for  a sobriety  and  purity 
of  color  and  the  studied  and  judicious  arrangement  of  his  compositions.” 

— Bryan's  Dictionary  of  Painters  and  Engravers. 

“The  ‘Isaac  Blessing  Jacob*  is,  however,  altogether  in  the  style  of  Rem- 
brandt, and  it  must  be  borne  in  mind  that,  later,  Flinck  adopted  somewhat 
of  the  Italian  style  of  painting.  His  best  works  were  produced  between  1638 
and  1650.  Pictures  by  Flinck  are  to  be  found  in  all  the  great  galleries  of 
Europe.”  — Painters  and  Their  Work. 

No.  129 — “Burgomaster’s  Wife.” 

29^x25. 

From  the  Collection  of  Count  Mnezneck,  of  Paris. 

Without  doubt  this  beautiful  picture  is  one  of  the  last  and  best  by  this 
painter,  who  is  recognized  as  the  most  important  of  the  Rembrandt  school, 
as  he  was  still  employed  in  painting  for  the  Burgomasters  of  Amsterdam 
when  he  died  in  1660;  beside  the  peculiar  collar  and  head  dress  here  shown 
was  that  worn  about  that  period,  not  only  in  Holland,  but  in  other  parts 
of  the  world.  His  flesh  tints,  while  a few  shades  lighter  than  Rembrandt, 
are  almost,  if  not  quite,  equal  to  that  master’s  work.  This  painting  was  No. 
50  in  Count  Leon  Vandalin  Mniszech  Collection. 


No.  130 — “Tambourine  Girl. 

20x16. 

A beautiful  little  Dutch  girl,  with  bright  eyes  and  golden  hair,  holding 


INDEX  AND  BIOGRAPHICAL  NOTES. 


89 

her  favorite  tambourine  upon  her  knee.  The  perfection  of  form  and  elegance 
of  color  show  the  artist  to  have  been  an  apt  student  of  his  renowned  master, 
Rembrandt. 


No.  131 — “Homage  of  the  Wise  Men.” 

34Hx2  7j$. 

“And  when  they  were  come  into  the  house,  they  saw  the  young  child 
with  Mary,  his  mother;  and  fell  down  and  worshipped  him;  and  when  they 
had  opened  their  treasures,  they  presented  unto  him  gifts,  gold  and  frankin- 
cense and  myrrh/’ — Matthew  2:11. 

It  was  the  time  of  the  numbering  of  the  people,  and  Joseph  and  Mary 
had  gone  up  to  Bethlehem  for  the  occasion.  Being  so  many  strangers  in  the 
little  town,  every  lodging  place  was  full,  so  that  they  were  obliged  to  spend 
the  night  in  a stable.  When  the  wise  men  and  shepherds  saw  his  star,  they 
followed  it  until  it  stood  over  the  lonely  place  where  the  divine  infant  lay. 
Here  we  see  them  in  the  soft  light  of  early  morning,  offering  their  gifts  and 
worshipping  the  child  held  on  his  mother’s  lap,  amidst  the  humble  surround- 
ings. His  coloring  is  rich  and  harmonious,  the  arrangement  pleasing,  and 
his  light  and  shadow  most  natural. 


FUECHSELL  (Herman). 

Born  at  Brunswick,  Germany,  August  8,  1833. 

Pupil  of  Lessing  in  Dusseldorf,  1855. 

Prize  for  Life  Drawing,  Brunswick  College,  1852. 

Studio  in  New  York  since  1858. 

— Cyclopedia  of  Painters  and  Paintings. 

No.  132 — “Evening  Scene  on  the  Hudson.’’ 

23^x33^. 

As  the  summer  sun  drops  slowly  out  of  sight  and  the  first  soft  glow  of 
coming  twilight  creeps  o’er  the  distant  hills,  the  cows  come  home  from 
the  wooded  pastures  and  are  met  at  the  rustic  gate  by  the  farmer  boy,  who 
admits  them  to  the  stable  yard  for  the  night.  Beyond  the  field  of  ripening 
grain  is  the  modest  farm  house,  almost  hid  from  view  by  the  deepening 
shadows  of  the  adjoining  wood.  A peculiar  restful  quiet  seems  to  pervade 
all  the  landscape,  broken  only  by  the  soft  murmur  of  the  river  as  it  hastens 
on  to  the  sea.  A most  pleasing  picture  and  one  fully  characteristic  of  this 
American  painter. 


No.  133— “A  Dream  of  New  England.” 

34x45. 


Owing  to  the  broad  scope  and  diversity  of  landscape  presented  in  this 
interesting  picture,  a detailed  description  could  not  be  undertaken.  The 


90 


T.  B.  WALKER  COLLECTION. 


artist  presents  a beautiful  lake,  surrounded  by  an  undulating  landscape,  com- 
prising low  sandy  peninsulas,  reed  grown  marshes,  green  meadows,  wooded 
valleys  and  broad  fields,  reaching  away  to  a line  of  blue  hills  rising  one 
above  another  in  the  distance.  It  is  indeed  a poet’s  dream  of  mid-summer, 
marred  only  by  the  introduction  of  two  dying  elms;  but  although  the  win- 
try winds  sing  sad  requiems  through  their  dead  branches,  yet  a kind  provi- 
dence sends  the  sparkling  brook,  murmuring  and  lisping  through  all  the 
summer  days,  nature’s  glad  song  of  life,  beauty  and  joy.  Modest  in  color, 
but  a well  chosen  subject,  filled  with  interest. 


FURINI  (Francesco). 

Florentine  School. 

Born  in  Florence  in  1604. 

Died  there  in  1649. 

Pupil  of  his  father  and  Passignano  and  Roselli. 

“On  leaving  school,  he  visited  Rome  and  Venice.  In  1644  he  was  ap- 
pointed curate  at  Mugello  near  Borgo  San  Lorenzo,  where  he  painted  some 
of  his  best  pictures,  but  he  acquired  the  high  reputation  in  which  he  is  held 
by  his  admirable  easel  pictures  which  are  found  in  the  first  collections  of 
Florence.  He  had  a preference  for  imitating  the  style  of  Albani,  in  which 
he  was  very  successful.  He  drew  with  elegance  and  correctness,  particularly 
the  delicate  forms  of  women  and  children,  and  generally  made  choice  of 
those  subjects  in  which  they  could  be  introduced  with  the  happiest  effect.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“His  works  are  highly  commended.” 

— Lippincott’s  Biographical  Dictionary. 


No.  134— “Adoration  of  the  Shepherds.” 

40x30.' 

“And  there  were  in  the  same  country  (about  Bethlehem),  shepherds 
abiding  in  the  field,  keeping  watch  over  their  flock  by  night.  And  lo  the 
angel  of  the  Lord  came  upon  them,  and  the  glory  of  the  Lord  shone  round 
about  them;  and  they  were  sore  afraid.  And  the  angel  said  unto  them,  Fear 
not,  for  behold,  I bring  you  good  tidings  of  great  joy  which  shall  be  to  all 
people.  For  unto  you  is  born  this  day  in  the  City  of  David,  a Saviour, 
which  is  Christ  the  Lord”  and  after  many  other  wonderful  signs,  the  angels 
went  away.  Then  the  shepherds  determined  to  go  up  to  Bethlehem.  “And 
they  came  with  haste,  and  found  Mary  and  Joseph  and  the  babe  lying  in 
a manger.”  The  artist  shows  the  interior  of  the  stable  filled  with  divine 
light  and  the  angels  proclaiming  the  glad  tidings,  “Glory  to  God  in  the 
highest,  and  on  earth  peace,  good  will  toward  men.”  Finished  in  Furini’s 
peculiar  mellow  tones. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


91 


GAINSBOROUGH  (Thomas),  R.  A. 

Born  at  Sudbury,  in  1727. 

Died  at  London,  i788. 

Pupil  of  Gravelot. 

Went  to  London  in  his  fifteenth  year  (1741). 

Worked  for  three  years  in  the  Martins  Lane  Academy  under  Frank  Hayman, 

the  historical  painter. 

Returned  to  Sudbury  in  1745  and  began  as  a portrait  painter. 

Removed  to  Ipswich,  and  in  1760,  to  Bath. 

On  the  foundation  of  the  Royal  Academy  in  1768,  he  was  one  of  the 
thirty-six  original  members. 

Bryant  says: 

“Gainsborough  will  always  occupy  one  of  the  highest  places  in  the  Eng- 
lish school,  whether  as  a portrait  or  landscape  painter.  In  his  early  land- 
scapes he  showed  traces  of  the  influence  of  the  Flemish  school,  but  as  time 
went  on  Nature  alone  became  his  mistress.  As  a colorist  he  ranks  with 
Rubens,  and  in  technical  work  Ruskin  says,  ‘Turner  is  a child  to  him.’  All 
the  great  galleries  contain  his  works,  there  being  twelve  in  the  National  Gal- 
lery at  London.” 

Ruskin  says: 

“Gainsborough’s  power  of  color  is  capable  of  taking  rank  beside  that  of 
Rubens;  he  is  the  purest  colorist  (Sir  Joshua  himself  not  excepted)  of  the 
whole  English  school,  Turner  himself  being,  in  management  and  quality  of 
a single  and  particular  tint,  in  the  purely  technical  part  of  painting,  a child 
to  Gainsborough.” 


No.  135 — “Mrs.  Edgar  ” 

19x16. 

She  is  descended  from  Edgar,  King  of  Scotland  (1093-1107),  whose  sister 
became  the  wife  of  Henry  I,  of  England,  August  5,  1100.  The  Edgars  have 
always  been  a prominent  family,  its  members  at  various  times  since  the 
Norman  conquest,  holding  important  positions,  some  even  holding  honorable 
titles,  a recent  instance  being  Sir  John  Ware  Edgar,  K.C.I.E.,  C.S.I.,  etc., 
born  in  1839.  Gainsborough’s  services  as  a portrait  painter  were  eagerly 
sought,  as  he  was  one  of  the  greatest  colorists  of  his  day,  and  as  one  writer 
says,  even  ranked  with  Rubens  in  this  respect.  Like  all  masters  of  portrait- 
ure, he  was  somewhat  given  to  flattery  of  his  subjects,  and  this  combined 
with  his  mastery  of  pencil  and  brush,  made  him  immeasurably  popular  with 
Royalty  and  the  Nobility. 


No.  136 — “Gentleman  in  Blue.” 

48x31  . 

From  the  collection  of  S.  T.  Smith,  Duke  Street,  London. 

(Mr.  Smith  is  the  author  of  the  important  Catalogue  Raisonne.) 

This  picture  was  painted  soon  after  the  “Blue  Boy,”  which  Gainsborough 
painted  in  order  to  prove  to  Sir  Joshua  Reynolds  that  blue  was  a most  beauti- 


92 


T.  B.  WALKER  COLLECTION. 


ful  pigment  when  rightly  used;  to  which  Sir  Joshua  most  strenuously  ob- 
jected. After  seeing  Gainsborough’s  “Blue  Boy,”  however,  Reynolds  ac- 
knowledged this  to  be  one  of  the  finest  pictures  ever  painted.  This  color  at 
that  time  was  the  most  popular  for  gentlemen’s  and  boys’  wear  and  was  em- 
ployed again  in  this  no  less  wonderful  painting,  “The  Gentleman  in  Blue.” 
This  portrait  is  that  of  a prominent  man  of  the  times,  and  is  a characteristic 
painting  by  this  great  English  colorist. 

No.  137 — “The  Parish  Chapel,  Sudbury,  England.” 

10^x12. 

In  this  scene  is  shown,  somewhat  in  the  distance,  the  parish  chapel  of 
Sudbury,  Suffolk  county,  England,  the  artist’s  native  town.  On  the  left  and 
nearer  the  foreground  on  a rising  knoll  and  shaded  by  a couple  of  tall  trees, 
is  a cottager’s  home.  In  front  of  the  cottage  a rugged  road  leads  to  the 
town.  On  the  roadside  three  figures  are  seen,  a man  and  a woman  standing 
talking  to  a woman  who  is  seated  on  the  grass. 

From  the  Collection  of  Viscount  Clifton.  A very  full  description  of  this 
picture  is  given  in  Mr.  Walter  Armstrong’s  Catalogue  of  Gainsborough’s 
Paintings. 


GALLETTI  (Sebastiano). 

Born  at  Florence,  about  1676. 

Died  there  in  1746. 

Student  of  Allesandro  Gherardini  and  Giovanni  Giuseppe  del  Sole. 

“He  was  a good  designer  and  executed  several  works  in  fresco  at  Placen- 
zia,  Parma  and  Turin  in  which  last  city  be  became  director  of  the  Academy.” 

— Pilkington’s  Dictionary  of  Painters. 


No.  138 — “Early  Morning  in  Egypt.” 

12x1854. 

Over  the  hilltops  the  reflected  rays  of  the  morning  sun  delicately  tints 
the  eastern  horizon.  The  sky  is  o’erspread  with  mist-like  clouds  and  the 
surrounding  landscape  is  but  dimly  outlined  in  the  mellow  light  of  early 
morning.  An  east  wind  ruffles  the  water  in  the  crystal  pool  and  bends 
and  sways  the  date  palm  trees  on  the  hill  beyond.  Women  and  children 
are  returning  from  the  pool  with  water  for  the  morning  meal,  while  one 
carries  a small  child  upon  her  back.  The  artist  has  chosen  a difficult  sub- 
ject, but  the  execution  is  artistically  designed  and  wonderfully  natural. 


GERARD  (Baron  Francois  Pascal  Simon). 

Born  in  Rome,  March  14,  1770. 

Died  in  Paris,  Jan.  11,  1837. 

French  School. 

Pupil  of  the  Sculptor  Pajou  of  Brenet  and  of  Jacques  Louis  David. 
Won  second  Prix  de  Rome  in  1789. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


93 


Appointed  Official  Portrait  Painter  by  Napoleon,  1800. 

Member  of  the  Institute,  1812. 

Legion  of  Honor,  Order  of  Sir  Michael;  first  painter  to  the  king  in  1817,  and 

in  1819  created  a Baron. 

“He  executed  many  important  works  under  the  Empire,  and  was  patron- 
ized by  Louis  XVIII,  Charles  X,  and  Louis  Philippe.” 

— Cyclopedia  of  Painters  and  Paintings. 

“There  is  a letter  existing  in  which  (Gen’l)  Moreau  tells  Gerard  that 
Madame  Buonaparte  (Josephine)  desired  to  see  his  portraits  and  with  Moreau 
would  visit  his  studio  for  that  purpose.  In  1802  Chaptal  writes  to  Gerard  that 
Napoleon  wished  Gerard’s  pictures  should  be  exhibited  in  the  Salon,  which 
he  ‘will  visit  the  day  after  tomorrow.’  The  list  of  those  whose  portraits  were 
painted  by  Gerard  is  a long  one,  and  many  of  those  who  sat  to  him  became 
his  life-long  friends,  among  others  Talleyrand,  who,  as  late  as  1830,  wrote  to 
him  from  London  urging  him  to  visit  England.  * * * His  house  was  for 

thirty-five  years  the  rendezvous  of  the  most  distinguished  among  his  country- 
men and  of  foreigners  who  visited  Paris.”  — Painters  and  Their  Works. 

“This  very  eminent  painter  * * * made  his  first  exhibition  in  1795. 
* * * Since  then,  he  has  distinguished  himself  by  many  classical  works 

which  are  well  known  by  engravings  of  them,  and  are  to  be  found  in  the 
royal  and  noble  galleries  of  France.  He  painted  numerous  portraits  of  the 
prominent  persons  of  his  time,  particularly  of  the  Emperor  Napoleon,  and 
his  consorts,  Josephine,  Marie  Louise,  the  king  of  Rome,  Madame  Pasta, 
George  Canning,  General  Foy,  and  some  of  the  Bourbon  family.” 

— Bryan's  Dictionary  of  Painters  and  Engravers. 


No.  139 — “Napoleon  in  Coronation  Robes/’ 

76x57. 

From  the  collection  of  Baron  de  Bondi,  * * * Paris. 

Napoleon  assumed  the  title  of  Emperor  of  France  and  King  of  Rome 
on  may  18,  1804.  He  was  crowned  Emperor  of  France,  Dec.  2, 1804;  Pope  Pius 
VII  performing  the  coronation  ceremony.  On  May  26,  1805,  he  was  crowned 
King  of  Italy  in  the  Cathedral  at  Milan.  He  was  born  at  Ajaccio  on  the 
Island  of  Corsica,  August  15,  1769.  This  painting  shows  him  at  the  age  of 
thirty-five  and  practically  at  the  pinnacle  of  his  greatness.  In  1783  when  but 
fourteen  years  of  age,  he  entered  the  Royal  Military  College  at  Paris.  In 
1792  he  became  captain  of  artillery.  In  1795  he  was  made  commander-in- 
chief of  the  armies  of  France.  As  early  as  1800  he  was  practically  ruler, 
and  a little  later  was  made  consul  for  life.  After  he  became  emperor  and 
king,  he  established  all  the  etiquette  of  royalty,  and  introduced  many  prac- 
tices marked  by  ostentation  and  parade.  He  was  finally  defeated  by  the 
English  under  Lord  Wellington,  at  Waterloo,  on  June  18,  1814,  and  was  con- 
demned to  exile  on  the  Island  of  St.  Helena,  arriving  there  Oct.  16,  1814, 
and  died  there,  May  5,  1821. 

Gerard  was  a favorite  portrait  painter  with  Napoleon  as  early  as  1800, 
and  painted  several  very  important  portraits,  not  only  of  Napoleon,  but  also 
of  Josephine. 

In  this  splendid  portrait,  he  is  represented  as  seated  upon  the  throne, 


94 


T.  B.  WALKER  COLLECTION. 


attired  in  a magnificent  imperial  carmine  robe,  decorated  with  bees,  and 
trimmed  with  gold  braid  and  royal  ermine.  He  is  crowned  with  a laurel 
wreath  and  holds  in  his  left  hand  a wand  of  authority,  while  the  right  hand 
is  raised  in  the  attitude  of  command.  The  throne  chair  is  elaborately  carved 
with  imperial  eagles  and  figures  representing  religion  and  civil  authority. 

The  bee  was  adopted  by  Napoleon  in  lieu  of  the  fieur  de  lis  of  the 
French  Monarchy. 


No.  140 — “Napoleon  Wearing  Hat.” 

31x24 

From  the  collection  of  the  Duchess  de  Berry,  Paris,  1837. 

Showing  in  profile  the  thin  lips  and  powerful  chin  indicative  of  that  ag- 
gressiveness and  tenacity  of  character  so  prounounced  in  every  phase  of  his 
illustrious  career.  The  hat  entirely  covers  the  splendid  forehead,  but  beneath 
we  see  the  piercing  eye,  the  long  Grecian  nose,  and  the  well  formed  shell- 
like ear.  He  wears  a blue  waistcoat  with  white  front,  decorated  with  epaulets 
and  the  badge  of  the  “Legion  of  Honor,”  of  which  he  was  the  founder.  As 
Gerard  was  appointed  by  Napoleon  as  his  court  painter,  some  four  years 
before  the  latter’s  coronation,  it  is  most  likely  that  this  portrait  was  painted 
between  1800  and  1804. 


GELDER  (Arnold  de). 

Dutch  Painter. 

Born  at  Dort,  1645.  Died,  1727. 

“He,  like  Rembrandt,  painted  portraits  and  historical  subjects  showing 
the  same  choice  or  form  and  same  fascinating  charm  of  color.  Many  of  De- 
Gelder’s  portraits  have  been  attributed  to  Rembrandt.  He  was  a fine  colorist, 
fond  of  picturesque  effects  and  had  a broad  and  masterly  touch.” 

— Cyclopedia  of  Painters  and  Paintings. 

“He  became  a disciple  of  Rembrandt,  under  whom  he  made  so  great  a 
proficiency  as  to  approach  very  near  that  famous  artist.  Nor  is  it  in  any  way 
surprising  that  in  his  coloring,  handling  and  freedom  of  pencil,  he  should  so 
exactly  imitate  his  master,  since  he  resembled  him  also  in  his  manner  of 
thinking;  though  many  of  Rembrandt’s  disciples  quitted  his  style  on  quitting 
his  school.  DeGelder  adhered  to  it  as  long  as  he  lived.” 

— Pilkington’s  Dictionary  of  Painters. 

“Endowed  with  a similar  feeling  for  the  art,  he  seems,  like  his  master, 
to  have  only  appreciated  its  beauties  as  they  related  to  the  harmony  of  color 
and  the  magical  effect  of  a judicious  management  of  the  chiaroscuro;  little 
solicitous  of  the  higher  considerations  of  correctness  of  design  and  dignity 
of  character.  Like  Rembrandt,  he  painted  portraits  and  historical  subiects 
in  which  he  exhibits  the  same  uncouth  choice  of  forms,  with  the  same  fas- 
cinating charm  of  color,  the  same  eccentricities  and  defects,  with  his  admi- 
rable conduct  of  light  and  shadow  and  the  richness  and  spirit  of  his  pencil. 
* * * He  was  the  most  successful  in  his  portraits,  some  of  which  are  not 
unworthy  of  Rembrandt,  and  are  frequently  attributed  to  that  master.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


95 


“He  acquired  the  elements  of  design  under  Samuel  van  Hoogstraeten, 
but  afterwards  went  to  Amsterdam  and  entered  the  school  of  Rembrandt. 
He  became  one  of  the  most  accomplished  imitators  of  the  style  of  that 
master,  and  his  works  exhibit  the  same  magical  coloring  and  admirable 
chiaroscuro,  producing  an  effect  which  captivates  the  beholders  and  coun- 
terbalances the  uncouth  choice  of  forms  and  impropriety  of  costume.” 

— Spooner’s  History  of  Fine  Arts. 


No.  141 — “The  Blind  Simeon  and  Christ  Child  in  the  Temple.,, 

39Kx4<% 

From  the  collection  of  Sir  Wm.  Cunliffe  Brooks. 

This  most  fascinating  painting  follows  in  every  detail  the  style  and 
finish  of  Rembrandt,  the  same  fascinating  charm  of  color  and  the  same  rich- 
ness and  spirit  of  pencil. 

Mary  has  taken  the  infant  Jesus  into  the  temple  to  make  an  offering  for 
him  according  to  the  Mosaic  Law,  and  aged  Simeon,  whom  God  has  promised 
should  not  die  until  he  had  seen  his  glory,  meets  her  and  taking  the  Child  up 
in  his  arms  blessed  God,  and  said,  “Lord,  now  lettest  thou  thy  servant  de- 
part in  peace  according  to  thy  word,  for  mine  eyes  have  seen  thy  salvation.” 
In  that  sweet  upturned  face,  with  its  silken  beard  thinned  by  age,  is  more 
of  expression,  more  of  soul,  than  seems  possible  to  portray  with  color  and 
brush.  The  modest  mother  prayerfully  listens  to  the  magic  words  of  this 
father  of  Israel,  while  even  the  Divine  Infant  appears  to  realize  the  solemnity 
of  the  occasion. 


GERICAULT  (Jean  Louis  Andre  Theodore). 

Born  at  Rouen,  September  26,  1791. 

Died  at  Paris,  January  18,  1824. 

History  and  animal  painter. 

Pupil  of  Carle  Vernet  and  of  Guerin. 

In  1817,  after  serving  in  the  army  three  years,  he  went  to  Italy  and  studied  in 

Rome  and  Florence. 

“Theodore  Gericault,  a pupil  of  Carle  Vernet  and  Pierre  Guerin,  died 
very  young,  but  he  played  an  important  part  in  French  art,  and  exerted  much 
influence  on  the  whole  school.”  — D’Anvers’  Elementary  History  of  Art. 


No.  142— “An  Old  Friend.” 

15x18. 

The  artist  under  this  title  aptly  presents  the  picture  of  the  faithful  old 
family  horse.  A sleek,  well-kept,  light  roan  horse,  stands  lazily  eating  at  the 
manger  of  a modest,  but  comfortable  stable,  which  demonstrates  that  he  is 
not  only  considered  as  “An  Old  Friend,”  but  that  his  friendship  and  faithful- 
ness are  fully  appreciated  by  those  whom  he  has  served.  Light  from  an 
unseen  window  shines  fully  upon  his  side,  showing  the  artistic  coloring,  and 
the  artist’s  studied  attention  to  detail  and  finish. 


96 


T.  WALKER  COLLECTION. 

GREUZE  (Jean  Baptiste). 

Born  at  Tournus  (Saone-et-Loire),  August  21,  1725. 

Died  in  Paris,  March  21,  1805. 

French  school;  genre  and  portrait  painter;  pupil  in  Lyons,  of  Grandon.  and  in 
Paris,  of  the  Academy,  in  1755. 

'‘His  works  are  highly  valued  for  their  exquisite  coloring,  particularly 
his  carnations,  and  for  the  fine  models  of  his  heads  and  countenances.  His 
pictures  are  full  of  life  and  sensibility,  and  his  heads  of  young  girls  possess 
a charming  innocence  and  simplicity  that  deserves  the  highest  praise.  His 
works  are  highly  prized  and  bring  large  prices.” 

— Spooner’s  History  of  Fine  Arts. 

“One  of  the  most  distinguished  painters  of  the  modern  French  School. 
He  displayed  preeminent  talent  in  domestic,  moral,  and  affecting  subjects.” 

— Pilkington’s  Dictionary  of  Painters. 

“His  style  is  eminently  French,  and  he  may  be  considered  as  one  of 
their  best  colorists;  a quality  in  his  pictures  that  can  be  recommended  for 
imitation. 

“His  pictures  are  highly  prized  by  his  countrymen,  and  no  less  so  by 
English  amateurs.  Enormous  prices  have  been  given  for  them  in  public 
sales.”  — Bryan’s  Dictionary  of  Painters  and  Engravers. 


No.  143 — “Benjamin  Franklin.” 

28*4x23. 

This  portrait  of  Franklin  was  painted  upon  his  order  in  1775,  and 
presented  by  him  to  Archibald  Hamilton  Rowen. 

In  1832,  he  began  the  publication  of  the  famous  “Poor  Richard's  Alma- 
nac.” To  him  is  due  the  founding  of  the  Philadelphia  Library,  now  one  of 
the  largest  in  America.  He  continued  to  rise  in  the  estimation  of  the  com- 
munity until  he  was  deemed  worthy  of  the  highest  honors  his  country  could 
bestow. 

In  1736,  he  was  Clerk  of  the  General  Assembly  of  Pennsylvania. 

In  1737,  Postmaster  of  Philadelphia. 

In  1753,  Deputy  Postmaster  General  for  the  British  Colonies. 

From  1757  to  1762,  he  was  in  England  pleading  the  cause  of  the  Col- 
onies before  the  Privy  Council,  and  prevailed. 

As  early  as  1752  he  had  made  extensive  experiments  in  electricity  and 
wrote  several  scientific  articles  which  were  translated  into  several  languages. 
From  1764  to  1775  he  was  again  in  England  as  an  Ambassador  from  the  Col- 
onies, and  on  his  return  in  1775,  was  unanimously  elected  as  a delegate  to 
the  second  Continental  Congress.  He  was  one  of  the  committee  chosen  to 
frame  the  Declaration  of  Independence,  which  he  signed,  with  others,  on  July 
4,  1776.  In  1776,  he  was  sent  as  Ambassador  to  the  court  of  France.  In 
1785-6-7,  he  was  chosen  President  of  Pennsylvania.  He  was  a delegate  in 
1787  to  form  a constitution  of  the  United  States.  His  last  public  act  was 
the  signature  of  a memorial  to  Congress,  by  the  Abolition  Society,  of  which 
he  was  the  president.  He  died  in  Philadelphia,  April  17,  1790. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


97 


No.  144— “Ideal  Head.” 

Oval,  21x17. 

From  the  collection  of  Comte  Raoul  de  Armand. 

Greuze  “was  noted  for  his  fine  heads  and  countenances,”  and  in  this 
small  oval  he  has  in  a manner  most  remarkable  shown  his  right  to  be  so  re- 
garded. The  face  in  addition  to  the  well  formed  and  beautiful  features,  has 
in  it  a world  of  charming  innocence,  simplicity  and  character.  The  really 
“ideal  head”  adorned  with  a luxuriant  growth  of  rich  auburn  hair,  is  well 
poised  upon  a truly  feminine  neck.  Drapery  of  some  soft  white  material 
constitutes  the  dress,  showing  to  advantage  a form  no  less  ideal  than  the 
shapely  head.  It  is  said  that  he  excelled  in  his  portraiture  of  young  women, 
and  was  known  as  one  of  the  greatest  of  the  French  colorists,  both  of  which 
are  truly  exemplified  in  this  fine  portrait. 


No.  145— “Madam  le  Doux 

19^x23. 

She  was  the  wife  of  Claude  Nicolas  le  Doux  (Ledoux),  a remarkable 
French  architect,  born  at  Dormans  in  1736.  He  published  a valuable  treatise 
on  architecture;  the  most  remarkable  monuments  of  his  inventive  genius 
are  the  Batteries  of  Paris.  He  and  his  estimable  wife,  it  is  believed,  were 
lifelong  friends  and  admirers  of  Greuze.  Le  Doux  died  in  1806,  the  year  fol- 
lowing the  death  of  this  eminent  painter.  The  finely  modelled  head,  the 
charming  simplicity  of  countenance,  and  splendid  coloring,  are  unfailing  evi- 
dence of  Greuze’s  brush  and  pencil. 

No.  146— “Study  of  Young  Girl’s  Head.” 

16x1224. 

The  artist  has  chosen  for  the  subject  of  this  picture  a round-faced,  blue- 
eyed lass  about  sixteen  years  of  age.  The  slightly  turned  up  nose  and  gen- 
eral contour  of  the  face,  indicates  a roguish  disposition,  although  the  intelli- 
gent eyes  have  a dreamy  faraway  look  that  marks  her  as  a thinker  and  as 
one  not  over  frivolous.  The  head  slightly  inclined  to  the  left,  is  crowned 
with  a profusion  of  soft  brown  hair,  partially  covered  by  a veil  falling 
gracefully  over  the  back  and  shoulders.  She  is  gowned  in  a blue  and  gold 
striped  dress,  with  scarf  of  some  soft  white  material  over  the  shoulders 
and  about  the  low-cut  neck. 

GEROME  (Jean  Leon). 

French  School. 

Born  in  Vesoul,  May  11,  1824. 

Medals  at  Paris. 

Legion  of  Honor  1855,  Officer  1867,  Commander  1878,  Member  of  Institute 
1865,  Professor  in  Ecole  des  Beaux  Arts  1863. 

History  and  Genre  Painter. 

Pupil  of  Paul  Delaroche  and  of  Gleyre. 


98 


T.  B(.  WALKER  COLLECTION. 


“Failed  to  obtain  the  Prix  de  Rome,  but  obtained  third  class  medal  for 
his  ‘Cock  Fight’  in  1847,  and  increased  his  reputation  by  his  ‘Anacreon’  in 
the  following  year.  Then  visited  Russia  where  he  painted  a successful 
picture  of  Russian  Musicians;  and  then  Egypt,  whence  he  brought  back 
valuable  material  afterwards  treated  (1857).  Since  this  period  he  has  painted 
a variety  of  subjects,  ancient  and  modern,  which  have  gained  him  a place 
as  one  of  the  best  known  modern  French  painters.” 

— Cyclopedia  of  Painters  and  Paintings. 


No.  147 — “The  Alchemist” 

1854x23. 

Alchemy  was  at  various  ages  practiced  in  nearly  every  country  of  Europe, 
Asia  and  Africa.  The  artist  gives  us  the  interior  of  an  Arabian  house.  On 
benches  along  the  farther  side  of  the  room,  two  women  sit  in  earnest  con- 
versation, while  a young  man  plays  upon  the  guitar.  Near  the  center  of  the 
room  a princess  sits  upon  an  inverted  pottery  crate  busy  at  some  fancy 
work.  At  the  left  the  alchemist  works  over  his  fire  and  melting  ladle,  while 
the  Arab  prince  watches  each  chemical  change,  expecting,  no  doubt,  to  find 
there  the  philosopher’s  stone,  by  which  life  might  be  prolonged  and  youth 
renewed,  or  something  equally  as  mysterious  and  wonderful.  The  profound- 
est  mystery  attended  all  the  experiments,  and  the  more  obscure  the  ideas, 
the  more  mystifying  and  symbolic  the  language  of  the  alchemist.  The  bright 
colors  of  the  costumes,  the  weird  light  and  the  unique  portrayal  of  the  myste- 
rious, complete  a beautiful  and  fascinating  picture. 


GHIRLANDAJO  (Domenico  del),  Maker  of  Garlands. 

Born  at  Florence,  1449. 

Died  there  Jan.  11,  1494. 

Painted  historical  subjects  and  portraits. 

Florentine  School. 

“He  proved  one  of  the  most  distinguished  artists  of  that  early  period, 
both  as  a mosaicist  and  painter.  His  design  was  more  graceful  and  correct 
than  was  usual  in  his  time  and  the  expression  of  his  heads  is  superior  to  any 
painter  that  has  preceded  him.  He  was  the  first  of  the  Florentine  painters 
who,  by  a judicious  attention  to  perspective,  gave  to  their  works  the  ap- 
pearance of  verity  and  depth.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“He  was  invited  to  Rome  by  Sextus  IX,  who  employed  him  in  the  Sistine 
Chapel,  where  he  painted  two  pictures.  He  was  the  founder  of  a very  dis- 
tinguished school  which  has  produced  many  eminent  artists  and  he  claims 
to  be  one  of  the  instructors  of  Buonarotti,” 

— Spooner’s  History  of  Fine  Arts. 

“He  lived  between  the  time  of  Masaccio  and  that  of  Michael  Angelo,  and 
his  works  differ  essentially  from  theirs.  They  are  chiefly  large  frescoes 
representing  sacred  subjects,  into  which  he  introduced  the  portraits  of  dis- 
tinguished Florentines,  either  as  spectators  or  as  actually  taking  part  in  the 
scene  represented.  * * * As  a painter  in  fresco  he  became  one  of  the 
greatest  as  regards  technical  skill  and  facility  of  expression.” 

— Painters  and  Their  Works. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


99 


No.  148 — “Laura  de  Sades.” 

28x2314. 

From  an  old  Italian  collection. 

The  lady  love  of  Petrarch,  the  great  poet,  pronounced  a genuine  painting 
of  this  noted  artist.  The  features  are  clearly  and  delicately  outlined.  The 
flesh  tints  are  still  almost  perfect,  although  upwards  of  four  centuries  have 
elapsed  since  the  canvas  left  the  artist’s  easel.  She  stands  by  an  open  door 
holding  an  apple  and  a red  carnation,  no  doubt  presented  to  her  by  Petrarch, 
whom  one  can  imagine  standing  just  outside  the  door. 


GIRODET  (de  Boussy  Anne  Louis).  (Girodet  Trioson.) 

French  School. 

Born  at  Montargis,  January  5,  1766. 

Died  in  Paris,  December  9,  1824. 

History  and  Portrait  Painter. 

Pupil  of  Luquin  and  of  David. 

Grand  Prize  in  Rome,  1789. 

Ten  years  prize  for  History,  1810. 

Member  of  the  Institute  1815.  Legion  of  Honor  1816. 

Louis  XVIII  ordered  the  cross  of  the  Legion  of  Honor  to  be  placed  on 
Girodet’s  coffin.”  — Cyclopedia  of  Painters  and  Paintings. 

“His  greatest  work  ‘Une  Scene  du  Deluge’  is  one  of  the  finest  examples 
of  the  modern  French  School.”  — Painters  and  Their  Works. 

“Like  David  himself  and  most  of  his  disciples,  Girodet  lacked  a mastery 
of  color.  His  power  of  drawing  was  his  forte,  and  to  this  is  due  the  charm 
of  many  of  his  works.”  — Bryan's  Dictionary  of  Painters  and  Engravers. 


No.  149 — “Hortense,  Mother  of  Napoleon  III.” 

28x23. 

From  collection  of  the  Duchess  de  Berry. 

Her  maiden  name  was  Hortense  Eugenia  de  Beauharnais.  She  was  born 
in  Paris  in  1783,  being  the  daughter  of  Alexander  Viscomte  de  Beauharnais, 
and  Josephine  Tascher,  who  afterwards  became  the  wife  of  Napoleon  Bona- 
parte and  Empress  of  France.  In  the  year  1802,  against  her  own  inclina- 
tions, her  mother  gave  her  in  marriage  to  Louis  Bonaparte,  with  whom  she 
did  not  live  happily.  In  1806  her  consort  was  made  King  of  Holland  and 
Hortense,  his  queen.  Hortense  was  the  mother  of  three  sons,  the  two  first 
of  which  died  in  infancy,  the  third  was  Charles  Louis  Napoleon,  who  became 
Emperor  of  France  in  1852,  under  the  title  of  Napoleon  III.  Hortense  was 
the  author  of  one  of  the  favorite  national  songs  of  France,  entitled  “Partant 
pour  la  Syrie.”  She  died  in  1837. 


100 


T.  B.  WALKER  COLLECTION. 


GROS  (Antoine  Jean,  Baron). 

Born  in  Paris,  March  16,  1771. 

Died  in  Paris,  June  27,  1835. 

Named  member  of  the  Institute,  1816. 

Counsellor  of  the  Royal  Museum,  1816. 

Professor  of  Ecole  des  Beaux  Arts,  1816. 

Order  of  St.  Michael,  1819. 

Legion  of  Honor,  1828. 

“In  1796  he  was  presented  to  General  Bonaparte  at  Milan  and  obtained 
his  favor  by  painting  him  on  the  bridge  at  Arcole.  The  General  had  the 
picture  engraved  by  Longhi,  gave  the  plate  to  Gros,  appointed  him  on  the 
commission  charged  to  select  works  of  art  for  France.  * * * Up  to  1812 
he  painted  battles  of  the  Empire  and  portraits,  then  was  commissioned  to 
paint  the  cupola  of  St.  Genevieve  which  he  finished  in  1824,  when  he  was 
ennobled.”  — Cyclopedia  of  Painters  and  Paintings . 

“Although  Gros  was  in  one  sense  always  a strict  adherent  to  the  canons 
of  classicism,  yet  he  was  one  of  the  first  of  David’s  pupils  to  abandon  classic 
and  mythological  scenes.  It  has  been  aptly  remarked  that  he  painted  classic 
forms  underneath  modern  costume.  His  style  is  bold  and  full  of  moment, 
and  his  coloring,  though  not  unfrequently  exaggerated,  is  a great  improve- 
ment on  the  coldness  of  the  founders  of  the  Classic  School.” 

— Painters  and  Engravers. 


No.  150 — ‘‘Napoleon  Bonaparte.” 

26x22. 

From  the  collection  of  Duke  de  Guise,  Nancy,  France. 

Baron  Gros  was  first  introduced  to  Napoleon  at  Milan,  about  May  15, 
1796.  Napoleon  and  his  army  had  captured  the  city  and  he  had  ordered  that 
all  of  the  principal  works  of  art  found  in  the  historic  city  be  gathered  and 
shipped  to  Paris,  and  it  was  no  doubt  in  this  connection  that  Gros  secured 
his  introductions.  Soon  after  the  fifteenth  day  of  November,  1796,  Gros 
gained  Napoleon’s  favor  by  painting  him  “On  the  Bridge  at  Arcole.”  Be- 
fore this,  however,  the  artist  had  sketched  and  painted  his  portraits  and,  no 
doubt,  this  picture  was  painted  about  that  time.  He  wears  the  white  trousers 
and  vest  with  blue  over  jacket,  decorated  with  epaulets  and  badges  of  honor. 

No.  151— “King  Charles  X.” 

21x17. 

King  of  France,  born  at  Versailles  in  1757;  was  the  son  of  the  Dauphin 
(who  was  the  oldest  son  of  Louis  XV)  and  was  the  youngest  brother  of  Louis 
XVI.  In  1773,  he  married  Maria  Theresa,  of  Savoy,  daughter  of  the  King  of 
Sardinia,  by  whom  he  had  two  sons.  He  constantly  opposed  all  concessions 
to  the  Revolution  and  joined  the  Royalist  Emigration  in  1789.  After  Bona- 
parte had  ceased  to  reign,  Count  d’Artois  (afterward  King  Charles  X)  en- 


INDEX  AND  BIOGRAPHICAL  NOTES. 


101 


tered  Paris  with  the  allied  armies.  He  ascended  the  throne  September  16, 
1824,  under  favorable  circumstances.  He  was  unfortunate  with  his  ministries, 
however. 

In  March,  1830,  the  Chamber  voted  an  address  hostile  to  the  ministers. 
The  King  and  Cabinet  then  resolved  on  a coup  d’etat.  On  July  25,  1830,  they 
issued  the  ordinances  which  infringed  the  charter,  and  caused  an  expulsion 
of  the  Monarchy.  After  a bloody  contest  of  three  days’  duration  in  the 
streets  of  Paris,  between  the  people  and  the  army  under  Marmot,  the  Revolu- 
tion was  completed  on  the  30th  of  July,  and  the  Bourbon  dynasty  ceased  to 
reign.  Charles  abdicated  in  favor  of  his  grandson,  the  due  de  Bordeaux, 
retired  to  England  and  died  at  Goritz,  in  October,  1836.  His  intellectual 
capacity  was  small,  and  Lord  Brougham  represents  him  as  a furious  bigot, 
and  a declared  enemy  of  liberty. 


GUARDI  (Francesco). 

Born  in  Venice,  in  1712. 

Died  in  1793. 

Venetian  school;  architecture  and  landscape  painter. 

Pupil  and  imitator  of  Canaletto. 

“He  painted  many  views  of  Venice,  which,  though  less  precise  in  per- 
spective and  architectural  detail  than  those  of  his  master,  are  charming  in 
style  and  execution.”  — Cyclopedia  of  Painters  and  Paintings. 

“As  the  number  of  his  pictures  was  very  great,  they  were  sold  for 
low  prices  until  about  forty  years  ago.  Since  then  the  spirit  with  which 
they  are  executed  and  the  force  of  coloring  have  caused  them  to  rise  enor- 
mously in  value.”  — Painters  and  Their  Works. 


No.  152 — ‘‘Venice  Looking  Seaward.” 

19x24. 

In  the  foreground,  and  extending  far  away  to  the  left,  is  one  of  the  grand 
canals,  dotted  with  gondolas  and  other  small  craft,  some  far  out  to  sea,  while 
others  lie  lazily  near  the  shadows  of  the  great  palaces  upon  the  right.  The 
tall  steeple,  just  behind  the  mosque-like  building,  marks  the  location  of  the 
palace  of  the  Doges,  while  just  to  the  right  is  seen  the  upper  portion  of  the 
grand  cathedral. 

Although  Guardi  painted  many  Venetian  scenes,  few  of  them  equal  this 
splendid  production. 


HALS  (Frans). 

Dutch  School. 

Born  in  Antwerp,  1584.  Died  in  Haarlem,  1666. 

Portrait  and  genre  painter  of  great  renown.  Pupil  of  Marel  Van  Mander. 

“He  was  never  prosperous,  despite  his  long  and  active  life,  and  his  un- 
usual talent  wh)>h  excited  Van  Dyck’s  admiration.  In  1664,  reduced  to  sheer 


jOS  ANGELES  MUSEUM 
EXPOSITION  PARK 


102 


T.  B.  WALKER  COLLECTION. 


want,  he  was  supported  by  the  municipality  and  pensioned.  Flesh  coloring 
unequalled,  handling  broad  and  masterly  and  vigorous.  Pictures  unequalled 
in  merit.”  — Cyclopedia  of  Painters  and  Paintings. 

“His  parents  were  descendents  of  an  old  patrician  family  at  Haarlem. 
* * * No  record  whatever  is  preserved  of  the  painter’s  early  years  at 

Antwerp,  nor  has  any  authentic  work  by  him  during  that  period  been  pre- 
served. * * * When  the  painter  was  past  thirty-five  years  old,  he  appears 

with  his  first  important  picture,  and  that  a masterpiece,  the  “St.  George’s 
Shooting  Guild  at  Haarlem.”  This  remarkable  circumstance  remains  unex- 
plained, as  do  other  facts  in  the  painter’s  life,  which  has  been  handed  down 
to  us  in  meager  outline.  * * * The  genius  of  Hals  which  for  over  a cen- 

tury was  so  far  forgotten  that  some  of  his  finest  portraits  were  sold  for  a 
few  pounds  or  even  florins,  is  now  once  more  fully  recognized.  In  his  power 
of  setting  down  the  momentary  changes  which  pass  across  the  human  face, 
especially  the  expression  of  laughter  and  merriment,  no  man  yet  has  equalled. 
As  a master  of  brilliant  brush  work,  and  in  the  consummate  power  of  his 
handling,  he  stands  second,  if  second,  to  Velasquez  alone.  * * * In  his 

earliest  period,  we  have  magnificent  portraiture  indeed,  accompanied  with 
certain  over-clearness  of  definition  and  ruddiness  of  color.  In  the  middle 
period  we  have  a great  fusion  of  tones,  and  more  atmosphere,  while  in  the 
third  period  brilliant  and  masterly  to  the  end,  he  has  almost  abandoned  the 
use  of  color  for  a masterly  scheme  of  black  and  white.” 

— Painters  and  Engravers. 

“The  family  of  Hals  was  one  of  the  oldest  in  Haarlem  as  Claes  Frans- 
zoon  Hals  is  mentioned  in  the  register  of  that  place  in  1350,  and  from  that 
date  there  are  entries  of  the  births,  marriages  and  deaths  of  his  descendants 
down  to  1674.  Among  them  was  Pieter  Hals  Clasz,  who  married  in  1579,  Lys- 
beth  Copes.  These  were  the  parents  of  Frans  Hals,  the  painter.  * * * 

Frans  Hals  appears  to  have  been  the  first  Dutchman  who  practised  in  Hol- 
land the  free  manner  of  painting  adopted  by  Rubens  and  Van  Dyck.  * * * 

The  heads  are  painted  with  a lightness  and  decision  yet  sufficient  solidity, 
giving  them  a wonderful  appearance  of  that  joyous  life  which  was  the  result 
of  the  freedom  of  wealth  that  then  existed  in  Holland.  Both  Rubens  and 
Van  Dyck  had  a very  high  opinion  of  Hals’  talent  as  a painter,  and  when 
the  latter  visited  Holland,  he  urged  Hals  to  accompany  him  to  England.” 

— Painters  and  Their  Works. 


No.  153 — “Bergomaster  of  Haarlem.” 

48x36. 

This  painting  was  purchased  about  1840-50  from  a fine  old  collection  in 
central  Europe,  and  at  the  death  of  the  owner,  about  twenty  years  ago,  was, 
with  several  other  important  paintings,  placed  in  storage  vaults  where  they 
remained  many  years.  The  picture  was  purchased  so  long  ago  and  the  pur- 
chaser has  been  dead  so  many  years  that  information  as  to  its  history  and 
purchase  is  not  now  obtainable,  but  would  be  of  value  and  interest. 

The  old  burgomaster  sits  with  left  hand  upon  the  arm  of  his  chair  while 
the  right  arm  rests  upon  a small  table  covered  with  a red  cloth.  Upon  the 
table  is  a leather-bound  book  and  a small  paper  weight  upon  which  is  the 
painter’s  mark  “F.  H.  1661.”  The  table  and  book  were  objects  almost  in- 
variably introduced  into  this  master’s  portrait  work.  While  the  picture  has 


INDEX  AND  BIOGRAPHICAL  NOTES. 


103 


become  darkened  by  time,  it  is  much  better  preserved  than  many  paintings 
of  the  same  age.  The  hands  have  probably  never  been  excelled  by  any  mas- 
ter; and  the  smiling  face  with  cropped  beard  is  truly  as  natural  as  color  and 
brush  could  possibly  produce. 


HAMMAN  (Edouard  Jean  Conrad)  -------  Paris 

Born  at  Ostend,  1819. 

Pupil  of  the  Art  Academy  at  Antwerp  and  DeKeyser. 

Settled  in  Paris,  1846. 

Gold  medal  at  Brussels  in  1848. 

Chevalier  of  the  Order  of  Leopold  of  Belgium,  1854. 

Medals  at  the  Salon,  1853,  1859  and  1863. 

Medal.  Exposition  Universelle.  1855. 

Cross  of  the  Legion  of  Honor,  1864. 

Hors  de  Concours. 

“His  historical  works,  generally  representing  some  well  known  episode, 
are  remarkable  for  simplicity  of  design  and  grace  of  execution.  In  the  bril- 
liance and  harmony  of  his  coloring  he  sometimes  almost  equals  his  great  mas- 
ter, N.  DeKeyser,  but  in  the  general  style  of  his  genre  paintings,  he  has  adopt- 
ed the  French  rather  than  the  Belgian  manner.”  — Viardot. 

No.  154 — “Haydn’s  Inspiration  for  the  Seasons  and  Creation.” 

2954x41. 

Haydn,  while  crossing  the  English  Channel  on  his  last  visit  to  London, 
encountered  a terrific  storm.  He  was  so  impressed  with  the  play  of  the  ele- 
ments, that,  it  is  said,  he  was  inspired  to  compose  his  celebrated  oratorio, 
“The  Creation,”  and  the  cantata,  “The  Seasons.” 

HAMILTON  (James)  - Ireland 

Born  in  Ireland,  1819.  Died,  1878. 

Studied  in  Philadelphia  and  in  England. 

Was  selected  by  Dr.  Kane  as  illustrator  on  his 
Arctic  Explorations. 

Particularly  successful  for  his  marine  views. 

“But  our  ablest  marine  painter  of  this  period  seems  to  have  been  James 
Hamilton,  of  Philadelphia,  who  was  beyond  question  an  artist  of  genius.  He 
was  inspired  with  a genuine  enthusiasm  for  the  sea,  and  rendered  the  wildest 
and  grandest  effects  of  ocean  with  breadth,  massiveness  and  power.  We 
have  no  marine  painter  about  whose  works  there  is  more  of  the  raciness  and 
flavor  of  the  blue  water.  — Benjamin’s  Art  in  America. 


104 


T.  B.  WALKER  COLLECTION. 


“Displaying  a talent  for  art,  he  adopted  it  as  a profession  while  still  a 
young  man.  He  was  assisted  by  John  Sartain  and  other  Philadelphia  gen- 
tlemen. * * * In  1854  he  went  to  England  spending  some  time  in  Lon- 
don. He  returned  to  Philadelphia  in  1856  and  having  turned  his  attention 
to  drawing  upon  stone  and  wood,  he  furnished  the  illustrations  for  Dr.  Kane’s 
“Arctic  Explorations,”  “Arabian  Nights,”  “Ancient  Mariner,”  and  other  pop- 
ular works.”  — Artists  of  the  Nineteenth  Century. 

“Hamilton’s  style  is  bold;  he  does  not  aim  at  high  finish;  but  he  is  the 
reverse  of  little,  and  aims  to  give  emphatically  his  own  feeling  and  sense 
of  a subject.”  — Tuckerman’s  Book  of  the  Artists. 

No.  155 — “After  the  Storm  on  the  Coast  of  Newfoundland.” 

29x4354. 

The  storm  is  past,  and  the  welcome  sunlight  breaks  over  the  bank  of 
departing  clouds,  bringing  to  view  a number  of  unfortunate  fishing  boats 
more  or  less  damaged  by  the  fury  of  the  wind.  The  sullen  rumble  of  the 
storm  can  still  be  heard  above  the  roar  of  the  maddened  sea,  now  seething, 
and  boiling;  its  mountainous  billows  still  threatening  to  engulf  the  few  re- 
maining ships,  while  wrecked  portions  of  the  more  unfortunate  are  being 
tossed  and  further  broken  by  the  relentless  waves.  The  gulls  dipping  low, 
shriek  defiance  to  the  storm  and  sea,  as  the  sailors  manfully  right  their  boats 
and  steer  for  home  and  safety.  The  picture  is  well  drawn,  artistically  finished 
and  filled  with  enthusiasm,  life  and  power. 


HARPIGNIES  (Henri). 

Born  at  Valenciennes,  July  28,  1819. 

Landscape  painter. 

Pupil  of  Achard. 

“Both  in  oil  and  water-color  this  artist  stands  in  the  first  rank  of  living 
French  painters.  His  water-colors  have  the  strength  and  breath  of  the 
English  school.”  — Cyclopedia  of  Painters  and  Paintings. 

“Henri  Harpignies  is  also  successful  in  poetic  interpretation,  as  in  his 
‘Evening  on  the  Roman  Campagna.’  ” 

• — Radcliffe’s  Schools  and  Masters  of  Painting. 

“His  landscapes  are  broadly  treated,  with  great  firmness  of  touch;  are 
full  of  truthfulness,  light  and  great  vigor.” 

— Stranahan’s  History  of  French  Painting. 

“Harpignies,  although  not  destitute  of  a certain  stiffness  or  lack  of 
mechanical  freedom  in  his  handling,  still  renders  the  grander  effects  of 
nature  with  majesty.”  — Benjamin’s  Contemporary  Art  in  Europe. 


No.  156 — “A  Morning  Scene  Near  the  Forest  of  Fontainebleau.” 

24x32. 

From  the  Forbes  Collection,  London. 

This  is  one  of  the  most  beautiful  and  refined  of  all  this  painter’s  works. 
It  has  all  the  refined,  poetic  feeling  of  a Corot,  yet  in  the  weird  and  peculiar 


INDEX  AND  BIOGRAPHICAL  NOTES. 


105 


style  of  this  artist,  and  was  painted  in  his  best  period,  about  1880.  It  came 
from  the  Forbes  collection  in  London  and  was  the  finest  of  fourteen  import- 
ant pictures  owned  by  Banker  Forbes  in  his  well-known  collection.  The 
picture  v/ill  stand  comparison  as  a landscape  with  any  of  the  refined  and 
real  impressionist  painters  of  modern  times.  He  stands  alongside  of  Corot 
as  the  greatest  of  the  Barbazon  painters,  and  is  the  last  remaining  one  of 
that  celebrated  school. 


No.  157 — “Another  Scene  Near  the  Forest  of  Fontainbleau.” 

24x32. 

From  the  Forbes  collection,  London. 

Represents  a pastoral  scene  with  some  peasants  and  their  present  cot- 
tage in  the  beautiful  poetic  style  of  this  noted  painter.  A fit  companion 
of  No.  66  of  this  catalogue. 


No.  158 — “Late  Evening  Scene.’’ 

30x42. 

From  the  Forbes  collection,  London. 

This  evening  scene  has  all  of  the  strange,  weird  effect  that  this  painter, 
more  than  any  other,  can  give  to  his  landscape  scenes.  It  represents  a 
solemn  landscape  scene,  with  the  moon  in  the  far  distance,  central  view 
of  the  picture,  with  trees  and  shrubbery  and  the  lonesome  twilight  effect 
scarcely  to  be  found  in  the  works  of  any  other  painter  of  the  old  or  mod- 
ern schools. 

From  the  depths  of  the  forest,  where  the  night  birds  woo, 

The  mountains  re-echo  the  owl’s  too-whoo; 

And  far  o’er  the  meadow,  so  lonely  and  shrill. 

Comes  the  doleful  complaint  of  the  sad  whippoorwill. 


HART  (James  McDougal)  - - - - - - N.  A.,  New  York 

Born  at  Kilmarnock,  Scotland,  1828. 

Brother  of  Wm.  Hart,  N.  A. 

Brought  to  America,  1831. 

Studied  with  Schirmer,  in  Dusseldorf. 

Member  of  the  National  Academy,  New  York,  1859. 


No.  159 — “Harvest  Scene  Valley  of  the  Delaware.” 

10^x1854. 

In  the  foreground,  a corner  of  the  pasture  is  separated  from  the  meadow 
and  the  field  of  golden  grain  by  a small  brook  and  an  old  rail  fence.  A pri- 
vate roadway  leads  from  the  pasture  over  the  brook  and  into  the  hay  meadow 
beyond.  Near  by,  two  men  are  tedding  the  hay,  while  in  the  distance  three 


106 


T.  B.  WALKER  COLLECTION. 


workmen  are  loading  and  hauling.  On  the  left  are  the  modest  farm  build- 
ings, standing  just  within  the  group  of  elms  that  border  the  field  of  grain. 
Farther  on,  the  great  hills  rise  one  after  another  until  lost  to  view  under 
the  dark  pall  of  the  threatening  clouds  o’erhead. 


No.  160 — “Landscape  with  Cattle.’’ 

15x20. 

This  picture  covers  a large  expanse  of  scenery  and  is  replete  with 
beauty  and  refinement.  An  open  field  or  pasture,  sloping  gradually  from  the 
foreground  to  the  edge  of  the  river,  which  is  seen  in  the  middle  of  the  pic- 
ture. Through  the  center  of  the  pasture,  with  its  grass  of  delicate  sun- 
lit green,  a small  path  may  be  traced  to  the  water’s  edge.  In  the  fore- 
ground some  cattle  are  ruminating.  Along  the  river  banks  are  fine  trees 
which  reflect  their  outlines  in  the  clear  water  of  the  stream.  In  the  distance 
is  a village,  while  in  the  extreme  distance  the  blue-topped  hills  fade  into  the 
sky.  A fine  example  of  the  old  Hudson  River  school. 


HARLOW  (George  Henry)  --------  England 

Born  at  London,  June  10,  1787. 

Died  at  London,  Feb.  4,  1819. 

Studied  under  De  Cart,  Drummond,  and  Sir  Thomas  Lawrence.  * * * 

In  1818  Harlow  went  to  Italy,  and  was  well  received  and  flattered  at  Rome, 
where  he  was  made  a member  of  the  Academy  of  St.  Luke.  He  exhibited 
between  1804  and  1818,  forty-two  portraits  at  the  Royal  Academy,  and  five 
at  the  British  Institution. 

He  worked  with  great  rapidity,  and  made  at  Rome  a good  copy  of 
Raphael’s  “Transfiguration,”  the  same  size  of  the  original,  in  eighteen  days. 

Harlow’s  best  works  are  his  small  portraits,  and  those  done  with  a 
pencil  and  having  the  faces  slightly  tinted. 

— Painters  and  Their  Works,  Vol  1,  P.  518. 

No.  161— “Miss  O’Neil  as  Juliet.” 

40x25. 

Miss  O’Neil  was  a noted  English  actress  in  the  early  part  of  the  nine- 
teenth century.  The  picture  is  one  of  those  delicately  penciled  portraits  of 
this  renowned  painter.  The  tinting  of  the  face  is  very  delicate,  yet  most 
natural,  while  the  gown  and  laces  are  rich,  both  in  color  and  light  effects. 

This  is  considered  one  of  the  best  of  Harlow’s  portraits. 

No.  162 — “Playmates.” 

43^x3354. 

From  the  Carleton  Galleries,  London. 

A golden-haired  boy  with  black  hat  and  plume  is  sitting  upon  the  marble 
step,  caressing  his  pet  dog.  On  the  right,  sitting  upon  the  floor,  her  left 


INDEX  AND  BIOGRAPHICAL  NOTES. 


107 


arm  resting  upon  a foot-rest,  is  a girl  but  little  older  than  her  playmate. 
The  boy  is  neatly  dressed  in  a soft  brown  suit,  cut  low  at  the  neck  and 
trimmed  with  dainty  lace;  while  the  little  girl  wears  a white  dress  of  soft, 
gauzy  material,  modestly  trimmed  with  bows  of  small  ribbon  of  purple, 
green  and  white.  The  children  are  beautiful,  resembling  each  other  to  a 
marked  degree,  and  it  is  believed  they  are  portraits  of  the  artist’s  own  chil- 
dren. The  expression  in  the  face  of  the  mischievous  dog  would  indicate 
that  he  was  anxious  for  the  children  to  “start  something.”  Considered  a 
splendid  example  of  Harlow’s  work. 

HELST  (Bartholomeus  Van  der). 

Born  at  Haarlem  (or  Dordrecht),  in  1613. 

Died  in  Amsterdam,  buried  Dec.  16,  1670. 

“Dutch  school;  portrait  painter,  either  studied  under  Frans  Hals  or  took 
him  as  his  model,  and  became  one  of  the  greatest  portrait  painters  of  his 
time.  Lived  chiefly  at  Amsterdam,  where  in  1654  he  and  Nicolaas  van  Helt- 
Stokade  founded  the  guild  of  St.  Luke.” 

— Cyclopedia  of  Painters  and  Paintings. 

“His  instructor  is  not  mentioned,  but  he  painted  subjects  of  history  in 
an  excellent  style,  and  as  a portrait  painter  he  ranks  among  the  ablest 
artists  of  his  country. 

“His  works  are  highly  prized  for  correct  drawing,  lively  and  true  ex- 
pression of  the  figures  and  countenances,  and  admirable  coloring.” 

— Spooner’s  History  of  Fine  Arts. 

“A  very  eminent  portrait  painter,  born  at  Haarlem  in  1613.  The  Dutch 
biographers  do  not  inform  us  by  whom  he  was  instructed,  but  he  is  deserv- 
edly considered  as  one  of  the  ablest  artists  of  his  country.  That  his  talents 
were  of  no  ordinary  cast  may  be  presumed  from  Sir  Joshua  Reynold’s  de- 
scription of  his  celebrated  picture  in  the  stadthouse  at  Amsterdam.  ‘The 
best  picture  in  the  house,’  says  that  judicious  critic,  is  painted  by  Van- 
derhelst.’ 

“This  is  perhaps  the  first  picture  of  portraits  in  the  world;  comprehend- 
ing more  of  those  qualities  which  make  a perfect  portrait  than  any  other 
I have  seen;  they  are  correctly  drawn,  both  heads  and  figures,  and  well 
colored,  and  have  a great  variety  of  action,  characters,  and  countenances; 
and  those  so  lively  and  truthfully  expressing  what  they  are  about,  that  the 
spectator  has  nothing  to  wish  for.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“He  sometimes  employed  his  pencil  on  historical  subjects,  and  the  land- 
scapes which  he  introduced  into  those  compositions  are  always  in  good 
taste,  and  designed  with  great  truth  to  nature.  But  his  chief  merit  con- 
sisted in  portraits,  which  he  designed  in  an  agreeable  style,  with  a light, 
free  touch,  and  a mellow  pencil,  with  bright  draperies  and  beautiful  color- 
ing. Many  of  his  countrymen  do  not  hesitate  to  compare  him  with  Van- 
dyck.”  — Pilkington’s  Dictionary  of  Painters. 

“In  the  opinion  of  many  good  judges,  Bartholomeus  Van  der  Heist,  as 
a portrait  painter,  ranks  next  to  Vandyck. 

“Fine  portraits  by  Van  der  Heist  are  to  be  found  in  all  the  great  gal- 
leries of  Europe,  and  even  in  many  private  collections.” 

— Painters  and  Their  Works. 


108 


T.  B.  WALKER  COLLECTION. 


No.  163 — “Portrait  of  a Lady.” 

42^x34. 

This  is  a signed  painting  from  one  of  the  old  collections  of  Europe, 
is  of  the  age  of  Van  der  Heist,  and  has  every  attribute,  even  to  the  family 
crest  or  coat-of-arms  of  one  of  the  prominent  houses  of  Europe,  so  care- 
fully painted  in  the  corner  of  the  picture,  which,  with  the  dress  and  bearing 
of  the  lady,  and  the  refined  and  characteristic  drawing  and  coloring  char- 
acteristic of  this  artist,  altogether  indicate  and  seem  to  insure  its  genuine- 
ness as  a work  of  this  most  prominent  of  all  the  artists  of  his  time. 

HERMANN  (Leo)  - France 

Born  at  Paris. 

Pupil  of  the  Ecole  des  Beaux  Arts. 

No.  164— “The  Good  Story.” 

8Hxll. 

Leo  Hermann’s  “Good  Story”  made  him  noted  as  an  artist.  One  of  the 
Goupil’s  “Hundred  Masterpieces  of  French  Art.” 

Two  portly  monks,  round  of  face  and  rotund  of  person,  sit  before  a 
table  in  a well  furnished  apartment.  One  is  reading  from  a small  volume 
which  he  holds  in  his  hand.  The  other,  in  an  ecstacy  of  laughter,  leans  back 
in  his  chair  speechless. 


HENNER  (Jean  Jacques). 

Born  in  Alsace,  1829. 

Died,  1905. 

His  paintings  are  marked  II.  Henner.  Pupil  of  Drolling  and  Picot; 

won  the  Grand  Prix  de  Rome  in  1858. 

— Cyclopedia  of  Painters  and  Paintings. 

He  sent  to  the  Salon  in  1878  “A  Dead  Christ”  and  “The  Magdalene.” 
The  last  was  much  praised  by  Roger  Ballu,  in  the  “Gazette  des  Beaux  Arts,” 
July,  1878,  who  says:  “How  can  we  describe  the  ineffable  poesy  of  this 

figure,  modeled  in  full  light,  the  flesh  of  which  has  the  agreeable  brilliancy 
of  a white  camellia  opening  itself  to  the  sun  * * * you  may  accuse  me 

of  enthusiasm  if  you  wish,  but  I was  ravished  at  the  sight  of  this  ‘Magda- 
lene;’ it  might  take  its  place  in  a museum,  and  proudly  regard  a Correggio.” 

No.  165 — “Portrait  of  Grand  Opera  Singer.” 

24x18. 

This  is  one  of  Henner’s  strongest  portraits.  The  delicate  flesh  tints, 
the  strong,  beautiful  features,  the  splendid  pose,  and  the  profusion  of  golden 
hair,  together  with  the  elegant  draperies,  make  up  a beautiful  woman.  The 
dark  background  causes  the  whole  portrait  to  stand  out  in  almost  full  relief. 
The  color  arrangement  is  most  harmonious  and  pleasing. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


109 


The  wonderful  flesh  of  his  “Magdalene,”  which  Ballu  likens  to  the  “bril- 
liancy of  a white  camellia  opening  itself  to  the  sun,”  is  given  to  the  face 
and  figure  of  this  painting,  and  while  other  details  necessary  to  produce  a 
perfect  picture  are  not  lacking,  yet  this  pearl-like  flesh  is  the  potent  factor 
in  the  composition  of  this  strong  attractive  picture. 

No.  166 — “A  Reverie.” 

19x17. 

A maiden  sits  beside  her  table, 

Still  and  fair  as  marble  cast; 

Are  her  thoughts  about  the  future. 

Or  simply  day  dreams  of  the  past? 

Eyes  wide  open,  yet  see  nothing; 

Ears  alert,  yet  hear  no  sound; 

All  her  being  simply  dreaming, 

In  a reverie  profound. 

One  of  Henner’s  most  interesting  pictures. 

HEEMSKERK  (Egbert  Van).  (The  Elder.) 

Born  at  Haarlem  in  1610. 

Died  in  1680. 

Called  “The  Peasant.” 

Dutch  School. 

“He  painted  the  interior  of  Dutch  alehouses  with  boors  regaling  or 
quarreling,  of  which  there  are  two  examples  in  the  Louvre  and  one  in  the 
Hermitage  at  St.  Petersburg.  These  subjects  he  painted  with  some  ability.” 

— Bryan's  Dictionary  of  Painters  and  Engravers. 

“Painted  genre  and  merrymakings.  There  are  two  pictures  by  this  artist 
in  the  Louvre,  which  are  much  in  the  manner  of  Teniers  and  Brouwer;  the 
drawing  is  correct,  the  coloring  transparent,  and  the  execution  light  and 
spirited.”  — Painters  and  Their  Works. 


No.  167 — “Market  Day  at  the  Country  Inn.” 

Painted  at  Amsterdam  about  1665.  Like  all  of  this  artist’s  works,  this 
is  a scene  of  revelry.  On  the  right  is  the  quaint  country  inn,  with  its 
spacious  yard  filled  with  men,  women  and  children  from  the  country-side. 
It  is  market  day,  but  only  a remnant  of  vegetables  remain  and  nearly  all 
give  themselves  over  to  eating,  drinking,  dancing  and  to  games.  One  young 
man  in  his  enthusiasm  embraces  the  buxom  bar-maid,  entirely  unnoticed  by 
the  group  watching  the  game  of  ten-pins.  On  the  left,  some  of  the  vil- 
lagers are  cutting  and  shocking  a field  of  grain.  The  figures  are  well  drawn, 
the  color  arrangement  very  good,  and  although  the  subject  is  not  elevating, 
yet  the  execution  is  spirited,  making  an  interesting  picture. 


110 


T.  B.  WALKER  COLLECTION. 


HOGARTH  (William)  - --  --  --  - England 

The  first  great  English  painter. 

Born  in  London,  December  10,  1697. 

Died  there  October  26,  1764. 

Son  of  Richard  Hogarth,  schoolmaster. 

“His  power  of  drawing  enabled  him  to  imitate  the  forms  within  his  own 
range  of  art — to  seize  their  expression  and  character — and  to  endow  them 
with  truth  and  nature.  His  color  was  simple  and  pleasing,  not  wanting  in 
harmony,  his  work  well  and  carefully  finished.” 

— Redgrave’s  Dictionary  of  Artists  of  the  English  School. 

“Thackeray  delineated  in  words  the  society  which  the  artist  shows  us 
in  color.  This  was  ever  the  bent  of  Hogarth’s  genius.  He  might  fail  as  a 
painter  of  history,  but  never  as  a painter  of  life.  He  loved  to  ‘point  a moral’ 
as  well  as  ‘adorn  a tale,’  and  the  moral  was  always  a dramatic  warning 
against  vice. 

“The  distinctive  art  history  of  Great  Britian  really  begins  with  Hogarth.” 

— Radcliffe’s  Schools  and  Masters  of  Painting. 

“England  did  not  produce  a first-class  master  of  genre  until  the  eigh- 
teenth century,  when  such  a one  appeared  to  William  Hogarth.” 

— Lubke’s  History  of  Art. 


No.  168 — “Hogarth’s  Portrait  of  His  Wife.” 

31x20. 

Painted  about  1730.  Hogarth  was  noted  more  for  his  character  scenes 
and  representations  of  the  customs  of  the  times  than  as  a portrait  painter. 
But  of  late  years  his  portraits  have  become  as  highly  appreciated  as  those 
of  any  of  the  English  artists.  This  one  in  particular,  is  fine  and  rich  in 
tone,  the  lace  cap  and  large  lace  collar  being  beautifully  painted.  The  back- 
ground is  also  very  fine.  The  flesh  tones  are  natural.  It  is  altogether  one 
of  the  finest  portraits  of  any  of  the  old  English  artists. 


HOBBEMA  (Minderhout). 

Born  1638.  Died  at  Amsterdam. 

Buried  Dec.  14,  1709. 

Dutch  School. 

“His  style  was  similar  to  that  of  Ruysdael,  with  a richer  and  more  har- 
monious system  of  coloring.  His  subjects  are  usually  of  a humble  character 
and  his  execution  proves  him  to  be  a close  student  and  follower  of  nature. 
He  is  considered  one  of  the  greatest  masters  of  landscape  art.  Some  of  the 
landscapes  are  enlivened  with  figures  by  Pieter  Bouts,  Adrian  Van  der  Velde, 
Berghem,  Storck,  B.  Gael,  and  others.  The  works  of  Hobbema  are  now 
exceedingly  scarce  and  very  valuable,  most  all  being  in  England  at  the 
present  time. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


Ill 


“Formed  himself  under  the  influence  of  Jacob  van  Ruysdael.  Much 
neglected  in  his  lifetime,  and  little  esteemd,  this  painter  now  takes  rank  as 
one  of  the  greatest  masters  of  landscape  art,  thanks  to  the  initiative  of 
England,  where  nine-tenths  of  his  works  are  to  be  found.” 

— Cyclopedia  of  Painters  and  Paintings. 

“He  resided  at  Amsterdam,  and  lived  on  terms  of  intimacy  with  Nicholas 
Berghem,  A.  Vand  der  Velde,  John  Lingelbach,  and  Ruysdael,  who  are  said 
to  have  adorned  his  landscapes  with  figures  and  animals.  His  style  was 
similar  to  the  latter,  with  a richer  and  more  harmonious  system  of  coloring. 
His  subjects  are  usually  of  a very  humble  character,  often  representing  a 
cottage  embosomed  in  a clump  of  trees,  with  a sandy  road  leading  through 
a wood,  and  a brook  or  small  lake.  His  pictures  are  executed  with  charm- 
ing simplicity,  and  he  is  not  surpassed  by  any  Dutch  painter  for  pure  and 
chaste  tints,  finish  and  freedom  of  touch  and  intelligence  of  chiaro-oscuro.” 

— Spooner’s  History  of  Fine  Arts. 


No.  169 — “The  Old 

28*4x3854. 

From  Collection,  Ruston  Hall,  Northamptonshire. 

The  first  glance  at  this  remarkable  painting  captivates  the  lover  of  the 
beautiful  in  tone  and  finish,  while  the  harmony  of  coloring  has  scarcely  ever 
been  surpassed. 

A quaint  old  mill  is  seen,  almost  hidden  by  the  overshadowing  trees 
which  fringe  the  shores  of  the  small  stream  and  casting  their  shadows  into 
the  placid  waters  of  the  millpond  with  such  idealistic  splendor  as  to  all 
but  rival  nature  itself.  Far  across  the  fields  and  meadows  is  seen  a modest 
farm  house,  and  the  whole  overshadowed  by  the  fleecy  clouds  and  hazy 
sky  of  a quiet  summer’s  day,  marks  this  a finished  picture  of  a master 
painter. 


No.  170 — “A  Wooded  Landscape  ” 

21 54x31. 

From  Adrian  Hope  Collection. 

In  the  foreground  several  clumps  of  beautiful  trees  and  a winding  road- 
way leading  back  to  some  neat  little  cottage  homes  almost  hidden  by  the 
green  shrubbery;  the  same  wooded  landscape  continues  until  lost  to  view 
through  the  dense  foliage  and  shadows  of  the  overhanging  trees.  A hunter 
with  his  dog  and  gun  are  seen  in  the  roadway.  The  rich  coloring  and  artistic 
shadows  make  an  attractive  and  interesting  picture. 


HOLBEIN  (Hans  The  Younger). 

Born  in  Augsburg,  in  1497,  died  in  London  between  Oct.  7 and  Nov.  29,  1543. 
German  school;  history  and  portrait  painter. 

Son  and  pupil  of  Hans  Holbein  the  elder. 

“The  wonderful  series  of  89  portraits  in  red  chalk  and  India  ink  by 


112 


T.  B.  WALKER  COLLECTION. 


Holbein  in  the  royal  collection  at  Windsor,  are  in  themselves  sufficient 
to  stamp  him  as  one  of  the  greatest  of  all  masters  in  portraiture.” 

— Cyclopedia  of  Painters  and  Paintings. 

‘‘This  most  celebrated  artist  was  the  younger  son  of  the  elder  Hans 
Holbein,  of  Augsburg.”  — James’s  Painters  and  Their  Works. 

“Was  not  only  the  greatest  German  exponent  of  the  realistic  school, 
but  one  of  the  first  portrait  painters  of  any  age;  and,  moreover,  one  to 
whom  the  British  school  of  painting  owes  more  than  to  any  other  master. 
Inferior  in  grandeur  of  style  and  fertility  of  imagination  to  his  great  cotem- 
porary Durer,  he  excelled  him  in  truth  to  nature,  in  feeling  for  physical 
beauty,  and  in  command  over  all  the  technical  processes  of  his  art.” 

— U Anvers’  Elementary  History  of  Art. 

“It  has  been  the  lot  of  few  to  have  their  merit  so  munificently  rewarded, 
or  to  whose  fame  posterity  has  paid  the  tribute  of  more  honorable  testi- 
mony. 

“The  portraits  of  Holbein  are  distinguished  by  a pure  and  simple  de- 
sign, peculiarly  characteristic  of  his  model,  his  carnations  are  tender  and 
clear,  and  his  heads,  without  much  shadow,  have  a surprising  relief.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“Holbein  was  soon  presented,  and  Henry  immediately  took  him  into  his 
service,  assigning  him  apartments  in  the  palace,  with  a liberal  pension, 
besides  the  price  of  his  pictures.  Holbein  painted  the  portrait  of  the  king 
several  times,  also  the  principal  personages  of  the  court,  and  many  others 
of  the  nobility. 

“His  portraits  are  distinguished  for  a pure  and  simple  design;  his 
carnations  are  tender  and  clear,  with  a peculiar  enamelled  bloom;  and  his 
heads,  without  much  shadow,  have  a surprising  relief.  He  generally  painted 
on  a green  ground;  in  his  small  pictures  often  on  a blue. 

“There  are  a great  number  of  genuine  portraits  by  Holbein,  in  the  man- 
sions of  the  nobility  throughout  England.” 

— Spooner’s  History  of  Fine  Arts. 

“His  portraits  up  to  this  time  all  display  that  uncommon  facility  for 
seizing  character  which  his  father  enjoyed  before  him,  and  which  he  had 
inherited  in  an  expanded  form.  No  amount  of  labor,  no  laboriousness  of 
finish — and  of  both  he  was  ever  prodigal — betrayed  him  into  loss  of  resem- 
blance or  expression.  No  painter  was  ever  quicker  at  noting  peculiarities  of 
physiognomy.  * * * His  method  was  to  the  very  last  delicate,  finished 

and  smooth,  as  became  a painter  of  the  old  school.” 

— Encyclopedia  Britannica. 

“He  very  early  attained  great  technical  skill,  and  evinced  a rare  power  of 
drawing — lifelike,  full  of  character  and  truthful. 

“Unsurpassed  as  many  of  the  highest  qualities  of  portrait  are,  especially 
in  his  lifelike  character,  he  was  no  less  so  in  the  originality,  variety  and 
power  of  his  designs.” 

— Redgrave’s  Dictionary ' of  Artists  of  the  English  School. 

“Hans  Holbein,  the  younger,  called  Holbein  par  excellence,  that  the 
true  mantle  of  all  the  family  genius  descended;  and  his  biography  must  be 
given  more  at  length. 

“Holbein’s  portraits  have  always  great  vigor  and  individuality.  They 
do  not  evince  the  least  imagination  or  soul;  yet  his  realism  is  so  correct, 


INDEX  AND  BIOGRAPHICAL  NOTES. 


113 


his  expression  so  natural,  and  his  heads  so  simply,  yet  thoroughly  and 
forcibly  finished,  that  he  ranks  in  this  respect  with  the  most  renowned 
artists  of  any  age  or  country.” 

— Radcliffe’s  Schools  and  Masters  of  Painting. 


No.  171 — “Henry  VIII  ” 

46x35. 

This  painting  was  for  many  years  the  property  of  one  of  the  most  promi- 
nent families  in  England.  It  was  finally  sold  and  came  into  the  possession 
of  Colneghi,  the  most  reliable  authority  in  England,  perhaps,  on  the  works 
of  the  masters.  This  picture  was  in  a noted  exhibition  of  the  portraits  of 
the  family  of  the  House  of  Tudor,  held  in  Manchester,  England,  in  1897, 
and  was  registered,  “No.  83-4.  Title  Henry  VIII.  Artist,  Hans  Holbein. 
Lent  by  Martin  Colneghi,  Esq.,”  as  shown  by  the  label  on  the  back  of  the 
canvas,  and  the  catalogue  of  the  Exhibition.  It  represents  Henry  VIII, 
life  size  and  nearly  full  length,  dressed  in  his  coat  made  of  golden  thread 
woven  into  the  cloth  and  reproduced  very  beautifully  by  the  painter.  The 
king  has  on  his  rather  broad  brimmed  hat  with  very  little  crown  shown, 
his  gloves  in  his  hand  and  with  all  the  magnificence  of  dress  possible.  An 
extraordinary  picture  and  framed  in  wood  carved  frame,  with  ornamental 
figures  and  open  Venetian  carving.  It  represents  one  of  the  most  important 
of  the  portrait  works  of  Holbein,  who  is  known  as  one  of  the  greatest  of 
the  portrait  painters,  which,  as  Radcliffe  says,  makes  him  rank  “with  the 
most  renowned  artists  in  any  age  and  country.” 


HOPPNER  (John). 

Born  at  Whitechapel,  London,  April  4,  1758. 

Died  in  London,  January  23,  1810. 

Portrait  and  Landscape  Painter. 

Member  of  the  Royal  Academy. 

“The  mother  of  this  artist  was  a German  attendant  at  the  palace,  and 
his  father,  also  a German.  He  entered  life  as  a chorister  in  the  Chapel 
Royal,  but  showing  a strong  inclination  for  drawing,  George  III  made 
him  a small  allowance  and  in  1775  he  was  admitted  into  the  schools  of 
the  Royal  Academy.  His  first  attempts  at  painting  were  landscapes,  yet  he 
gained  the  gold  medal  in  1782  for  a painting  of  “King  Lear.”  In  the  same 
year  he  married  Miss  Wright,  whose  mother  executed  portraits  in  wax. 
From  that  time,  he  devoted  himself  to  painting  portraits,  and  was  the 
chief  rival  of  Lawrence.  He  was  much  in  favor  with  the  royal  family  and 
painted  many  portraits  of  members  of  it. 

In  1793  he  was  elected  an  associate,  and  in  1795,  a full  member,  of  the 
Royal  Academy.  To  a certain  extent,  Hoppner  imitated  Reynolds  and  al- 
though his  coloring  was  admired  when  his  portraits  were  painted;  owing 
to  the  use  of  bad  materials,  some  of  them  have  now  become  heavy  and 
hard.  He  succeeded  best  in  portraits  of  women  and  children.  * * * His 

full-length  portraits  of  official  personages  are  also  very  good,  for  they 
stand  firm  upon  their  feet  and  their  roles  are  well  imagined.  Pictures 


114 


T.  B.  WALKER  COLLECTION. 


and  portraits  by  Hoppner  have  been  sold  as  follows:  Portrait  of  Mary 

Gwyn,  1889,  $11,810.  * * * Portrait  of  Nelson,  $13,385.  ...” 

— Painters  and  Their  Works. 

“By  the  patronage  of  the  Prince  of  Wales  became  a fashionable  por- 
trait painter,  finding  a rival  only  in  Lawrence.  The  Prince,  the  Duke  and 
Duchess  of  York  and  many  other  notable  personages  were  among  his  sit- 
ters. * * * Published  in  1803,  ‘A  Select  Series  of  Portraits  of  Ladies  of 
Rank  and  Fashion’  painted  by  him.” 

— Cyclopedia  of  Painters  and  Paintings. 

“Ploppner’s  style  of  portrait  painting  appears  to  have  been  founded 
cn  the  study  of  the  works  of  Sir  Joshua  Reynolds,  but  he  was  far  from 
being  a copyist.  Occasionally,  indeed,  he  imitated  Reynolds’  manner  and 
formed  his  pictures  on  similar  principles,  but  he  atoned  for  the  plagiarism 
by  his  original  graces.  * * * In  his  portraits  of  children,  he  was  pe- 

culiarly happy  and  scarcely  less  so  with  those  of  ladies;  but  in  painting  men 
his  style  was  too  constrained. 

Among  his  contemporaries  he  had  a reputation  for  brilliant  and  yet 
mellow  coloring.  * * * In  1810,  Lawrence  in  one  of  his  letters,  ex- 
pressed genuine  sorrow  at  the  news  of  Hoppner’s  death;  adding,  however, 
in  another  place,  the  remark  that  ‘the  death  of  Hoppner  leaves  me  without 
a rival.’  ” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 


No.  172 — “Lady  Isabella  Hamilton” 

26x24. 

Lady  Isabella  Hamilton  was  the  only  daughter  of  the  Right  Honorable 
Sir  William  Hamilton,  from  his  first  wife,  whom  he  married  in  1755.  Cham- 
bers, speaking  of  Isabella’s  mother,  says  she  was  a “lady  of  beauty,  con- 
nections, amiable  qualifications,  and  5,000  pounds  a year.”  Another  biog- 
rapher calls  her  a “beautiful  heiress  of  Pembrokeshire.”  Duclos,  secretary 
of  the  French  Academy,  has  this  to  say,  after  his  visit  to  Naples,  1772,. 
where  Sir  William  was  serving  as  ambassador  (1764-1780). 

“Sir  William’s  lady  and  himself  in  the  prime  of  life,  his  daughter  just 
opening  to  womanhood,  beauty  and  accomplishments.  The  public  respect 
paid  to  his  merits,  and  the  internal  peace  of  his  amiable  family.”  Three 
years  later,  however,  Isabella  died  and  her  mother  also  died  in  1782.  The 
half-length  portrait  was  no  doubt  painted  in  1774,  during  a visit  of  Isabella 
to  England  and  Scotland  and  fully  verifies  Prof.  Duclos’  statement  that 
Isabella  was  both  accomplished  and  beautiful.  The  painting  also  demon- 
strates Hoppner’s  ability  as  a portrait  painter,  and  the  influence  of  the  works 
of  Reynolds. 


HOOGSTRAATEN  VAN  (Samuel). 

Born  at  Dordrecht,  August  2,  1627. 
Died  there,  October  19,  1678. 
Student  of  His  Father  and  Rembrandt. 
Master  of  Houbraken. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


115 


“he  painted  portraits,  landscapes,  etc.,  with  success,  and  wrote  a good 
work  on  the  theory  of  painting.” 

— Lip pine ott’s  Biographical  Dictionary. 

“History,  portraits,  perspective  views  and  still  life.  He  was  the  elder 
son  of  Dirk  Van  Hoogstraaten,  and  shortly  after  his  father’s  death  (1640) 
he  entered  the  school  of  Rembrandt.  In  1651  he  went  with  his  brother 
Jan  to  Vienna,  and  after  visiting  Rome,  to  London  about  1663.  * * * 
At  first  Samuel  Van  Hoogstraaten  painted  in  Rembrandt’s  strong,  dark 
manner,  but  afterwards  he  adopted  one  more  like  that  of  De  Barre,  or 
Pieter  de  Hooch  and  some  of  his  pictures  have  been  sold  as  being  by  the 
latter  painter.” 

— Painters  and  Their  Works. 

“The  first  applied  himself  to  portrait  painting,  and  finding  the  dark, 
though  vigorous,  style  he  had  acquired  under  Rembrandt  did  not  please  the 
generality  of  his  sitters,  he  adopted  one  more  clear  and  agreeable,  and  met 
with  great  encouragement  in  that  branch  at  the  Hague  and  at  Dordrecht. 
Later  on,  he  painted  landscapes,  flowers,  fruit,  and  subjects  of  still-life  in 
the  style  of  Pieter  De  Hooch.” 

— Bryan's  Dictionary  of  Painters  and  Engravers. 


No.  173 — An  Interior  View.” 

18^x23. 

The  beholder  being  permitted  to  stand  at  the  rear  of  the  great  recep- 
tion room  of  a palatial  residence,  from  whence  to  get  a view  of  this  room, 
the  broad  veranda,  and  a glimpse  of  the  beautiful  terraced  gardens  and 
ground,  which  surround  the  house.  A flood  of  golden  sunlight  pours  in 
through  the  great  windows  and  arched  doors,  lighting  up  the  fine  porch 
and  the  grand  reception  room  within.  On  the  right  four  ladies  seated  at 
small  tables  drink  the  health  of  the  chivalrous  host,  while  the  hostess  sits 
at  the  left  of  the  door,  conversing  with  another  woman  standing  well  back 
in  the  shadows.  The  maid  with  a tray  of  fruit  ready  to  serve,  stands  on 
the  veranda,  as  other  guests,  attired  in  the  fashions  of  the  long  ago,  file  in 
from  the  flower  gardens  and  the  charming  wooded  grounds. 


HUGUET  (Victor). 

French  School. 

One  of  the  leading  cotemporary  painters. 

Pupil  of  Eugene  Fromentin. 

His  works  are  handled  almost  exclusively  by  Durand  Ruel,  Paris. 


No.  174 — “Scene  on  the  African  Coast.” 

15x22. 

In  the  foreground  the  low,  sandy  beach  in  narrow  finger-like  peninsulas 
reaching  out  into  the  sea,  is  overrun  by  a colony  of  storks.  Beyond  is  a 
small,  low  island,  covered  by  the  peculiar  temples  and  thatched  huts  of  a 
native  tribe,  who  may  be  seen  busying  themselves  in  work  and  pleasure 


116 


T.  B.  WALKER  COLLECTION. 


along  the  shore,  and  in  the  shadows  of  the  palm  trees  on  the  island.  Beyond 
is  the  restless  sea,  resplendent  with  colors  reflected  from  the  sun-kissed 
clouds  of  the  early  morning,  as  the  light  of  day  dispels  the  darker  shadows 
of  the  night.  A peculiarly  interesting  picture  in  subdued,  but  pleasing  tones. 


HUNTINGTON  (Daniel)  R.  A. 

American  School. 

Born  in  New  York,  Oct.  14,  1816. 

Died  there. 

Portrait  and  genre  painter. 

Pupil  of  Professor  Morse  and  later  of  Inman. 

President  of  the  National  Academy  1862,  1869,  1877-84. 

Studio  in  New  York. 

“Visited  Europe  in  1839,  and  again  in  1844,  painting  some  of  his  most 
important  works  in  Florence  and  Rome.  Portraits:  Presidents  Lincoln  and 
Van  Buren,  Governor  E.  D.  Morgan,  William  E.  Dodge,  * * * Bishop 
Whipple,  * * * General  John  A.  Dix,  * * * Honorable  John  Sher- 
man, etc.”  — Cyclopedia  of  Painters  and  Paintings. 

“He  was  elected  a member  of  the  National  Academy  in  1840,  and  Presi- 
dent in  1862,  holding  that  office  until  succeeded  by  Henry  Peters  Gray,  in 
1869.  He  was  again  elected  in  1877.  Among  the  most  important  of  Hunting- 
ton’s portraits  are  those  of  President  Lincoln,  * * * President  Van 
Buren,  etc.”  — Artists  of  the  Ninteenth  Century. 

“His  figures  generally  have  the  roundness  which  distinguish  several  of 
the  best  Italian  masters,  and  his  tints  are  subdued,  and  harmonize  like  many 
of  the  favorite  pictures  both  of  the  Roman  and  the  Tuscan  schools.  A strik- 
ing merit  in  his  composition  is  his  simplicity.” 

- — Tuckerman’s  Book  of  the  Artists. 

“In  his  portraits  truth  and  simplicity  are  reckoned  his  conspicuous 
merits.  His  execution  is  considered  good,  though  subdued.” 

— Mrs.  Tyler’s  Modern  Paintings. 


No.  175 — ‘‘Abraham  Lincoln,  Original  Portrait.” 

34x27 

This  portrait  of  Lincoln,  painted  from  life,  together  with  other  art 
effects,  was  removed  from  the  late  Daniel  Huntington’s  residence  at  49 
East  20th  Street,  New  York  City.  It  is  not  known  exactly  at  what  date 
Huntington  painted  Lincoln,  but  it  is  positively  known  that  Lincoln  sat  for 
him  several  times  between  the  time  he  reached  Washington  (Feb.  23,  1861) 
and  the  time  of  his  assassination  by  John  Wilkes  Booth,  April  14th,  1865. 
The  painting  is  in  Huntington’s  subdued  coloring,  but  has  been  pronounced  by 
many  who  knew  Mr.  Lincoln  personally,  to  be  a most  remarkable  likeness, 
and  by  reason  of  the  subdued  coloring,  shows  the  features  more  naturally 
than  would  a brightly  colored  and  more  brightly  finished  painting.  Abraham 
Lincoln,  the  sixteenth  president  of  the  United  States,  was  born  in  Hardin 


INDEX  AND  BIOGRAPHICAL  NOTES. 


117 


County,  Kentucky,  February  12th,  1809.  He  was  the  son  of  Thomas  Lincoln, 
and  Nancy  Lincoln  (Hanks).  The  Lincolns  were  direct  descendants  of 
English  Quakers,  who  settled  in  America  in  the  seventeenth  century.  Abra- 
ham’s mother  died  when  he  was  but  nine  years  of  age,  yet  he  often  said, 
“All  that  I am  and  all  that  I hope  to  be,  1 owe  to  my  angel  mother.”  When 
twenty  years  of  age  he  stood  six  feet  four  inches  tall,  and  although  quite 
slender,  was  renowned  for  great  physical  strength.  He  had  but  one  year’s 
schooling,  but  by  great  persistence,  educated  himself.  In  1836  he  was  ad- 
mitted to  the  bar  and  began  the  practice  of  law  at  Springfield,  Illinois.  His 
sweetheart  died,  but  he  afterwards  married  Mary  Todd  (Nov.  4th,  1842), 
and  from  this  union  four  sons  were  born,  only  one  (Robert)  of  which  is  now 
living.  He  was  elected  the  first  Republican  president  in  November,  1860, 
and  when  starting  for  Washington  in  February,  1861,  said,  “I  feel  that  I 
cannot  succeed  without  the  same  divine  blessing  which  sustained  him, 
(Washington)  and  on  the  same  Almighty  Being  I place  reliance  for  sup- 
port. 


INMAN  (Henry). 

Born  of  English  ancestry,  at  Utica,  N.  Y.,  Oct.  28,  1801. 

Died  in  New  York,  January  17,  1846. 

American  School. 

Portrait,  genre  and  landscape  painter 
Pupil  of  John  Wesley  Jarvis,  of  New  York. 

“Inman  was  much  employed  in  the  United  States  as  a portrait  painter. 
In  1845  he  came  to  Europe  and  while  in  England  painted  Wordsworth, 
Macaulay,  Dr.  Thomas  Chalmers,  Lord  Cottenham,  and  others;  also  some 
landscapes.”  — Painters  and  Their  Works. 

“He  studied  under  J.  W.  Jarvis  at  New  York,  where  he  practiced  for 
several  years  and  rapidly  attained  prominence.  In  1832  he  married  and 
settled  in  Philadelphia,  where  he  had  a large  practice  as  a portrait  painter.” 

— Bryan’s  Dictionary  of  Painters  and  Paintings. 

“Let  anyone  turn  from  the  crude  execution  of  his  paintings  at  the 
age  of  eighteen  to  the  exquisite  finish  and  delicate  tints  of  “Rydal  Water,” 
which  seems  to  deepen  in  crystal  tranquillity  as  you  gaze,  until  the  very 
spirit  of  the  delicious  landscape  passes  into  your  mind,  as  it  often  did  into 
that  of  Wordsworth,  who  himself  conducted  Inman  to  the  very  point  of 
view  whence  the  picture  was  taken.  * * * The  works  thus  brought  to- 

gether (at  the  Art  Union  rooms  for  the  benefit  of  Inman’s  family),  all  the 
products  of  one  mind,  were  more  valuable  and  attractive  than  many  exhibi- 
tions we  have  seen  comprising  twenty  times  as  many  pictures  by  fifty  different 
artists.  (One  hundred  and  fifty  of  Inman’s  pictures  were  arranged  upon  the 
walls.)  * * * In  his  happiest  efforts  at  portraiture  wherein  there  was 

great  inequality,  viewed  as  a whole,  Inman  has  been  compared  to  Sir  Thomas 
Lawrence.”  — Tuckerman’s  Book  of  the  Artists. 

Tuckerman  gives  thirteen  pages  of  unstinted  praise  to  Henry  Inman, 
who  suffered  many  years  with  asthma,  eventually  contracting  heart  disease 
from  which  he  died. 

“He  numbered  among  his  sitters  in  America  many  distinguished  men, 


118 


T.  B.  WALKER  COLLECTION. 


and  his  portraits  are  in  the  Boston  Atheneum,  New  York  City  Hall,  and 
elsewhere  throughout  the  country.  Among  his  landscapes  are  ‘Rydal  Falls, 
England/  and  "October  Afternoon/  one  of  his  last  works.  He  painted  also 
‘The  News  Boy/  ‘Rip  Van  Winkle/  ‘The  Boyhood  of  Washington/  and 
kindred  works/’  — Artists  of  the  Nineteenth  Century. 

No.  176 — “The  Birthplace  of  Washington.” 

1914x23. 

The  modest  farm  home  of  Augustine  Washington  and  his  second  wife, 
whose  maiden  name  was  Mary  Ball,  was  situated  in  a parish  called  Washing- 
ton, Westmoreland  County,  Va.,  near  Pope’s  creek,  a small  tributary  of  the 
Potomac  river  and  about  one-half  mile  from  its  junction  with  that  stream. 
The  house  was  destroyed  by  fire  during  the  boyhood  of  Washington,  but  in 
1815,  a stone  with  suitable  inscription  was  placed  on  the  spot  by  George 
Washington  Parke  Custis.  After  the  burning  of  their  house  on  Pope’s  creek, 
the  family  moved  to  a house  on  the  Rappahannock,  a short  distance  above 
Fredericksburg,  where  the  father  died,  in  1743,  when  George  was  but  eleven 
years  of  age.  Inman’s  splendid  little  picture  shows  the  monument  with 
inscription,  and  the  interesting  landscape  adjoining. 


INGRES  (Jean  Auguste  Dominique). 

Born  at  Montauban  (Tarn-et-Garonne),  August  29,  1780. 

Died  in  Paris,  January  14,  1867. 

“History  and  portrait  painter,  pupil  of  Roques  in  Toulouse,  and  of  David 
in  Paris  (1796).  Won  the  second  Grand  Prix  in  1800,  and  the  Grand  Prix 
de  Rome  in  1801,  but  being  unable  to  go  to  Italy,  on  account  of  the  war,  he 
spent  the  next  five  years  in  Paris  studying  the  pictures  in  the  Louvre.” 

— Cyclopedia  of  Painters  and  Paintings. 

No.  177 — “Napoleon  in  Coronation  Robes.” 

1714x1414. 

This  splendid  portrait  represents  Napoleon  at  35  or  36  years  of  age 
as  he  appeared  in  his  coronation  robes  when  crowned  Emperor  of  France, 
December  2,  1804. 

On  December  16,  1809,  he  divorced  Josephine,  whom  he  married  in  1795, 
and  was  married  to  Marie  Louise  on  April  2,  1810.  On  March  20,  1811, 
Napoleon’s  son,  the  King  of  Rome,  was  born.  On  April  6,  1814,  he  abdicated, 
and  on  May  1,  1821,  he  died.  This  portrait  is  no  doubt  a faithful  likeness  of 
Napoleon  in  the  prime  of  life  and  at  the  very  pinnacle  of  his  greatness. 

A t ry 

ISBEY  (Jean  Baptiste). 

Born  at  Nancy,  1767. 

Died  at  Paris,  1856. 

This  painter  is  said  to  have  studied  under  four  masters:  Girodet,  Claudet, 
Dumont,  and  David.  He  arrived  in  Paris  in  1786,  and  was  so  fortunate  as  to 


INDEX  AND  BIOGRAPHICAL  NOTES. 


119 


obtain  commissions  to  paint  Marie  Antoinette,  and  other  members  of  the 
Royal  Family.  Isbey  was  no  less  in  favor  with  the  chiefs  of  the  different 
ruling  powers  that  succeeded  each  other  in  France. 

Napoleon  appointed  him,  in  1805,  first  painter  to  the  Empress  Josephine, 
and  afterwards,  drawing  master  to  the  Empress  Marie  Louise;  also  “Di- 
recteur  des  Fetes  et  Ceremonies.”  Talleyrand  sent  him  to  paint  the  pleni- 
potentiaries at  the  Congress  of  Vienna.  Louis  XVIII  sat  to  him.  Charles 
X made  him  cabinet  painter,  and  Louise  Philippe  appointed  him  Honorary 
Conservator  of  Public  Museums. 

His  picture  of  the  “Congress  o'  Vienna”  is  at  Windsor,  and  there  are 
many  other  works  by  him  in  the  Louvre,  and  at  Versailles. 

— Painters  and  Their  Works,  Vol.  2,  Page  8. 


No.  178 — “Lucien  Bonaparte.” 

23x13. 

Prince  of  Canino,  a brother  of  Napoleo*  , born  at  Ajaccio,  in  March,  1775, 
was  one  of  the  ablest  members  of  the  famny.  In  the  French  Revolution  he 
showed  himself  a zealous  republican  and  acted  with  much  energy  and  moder- 
ation on  several  occasions. 

In  1795  he  married  Christine  Boyer,  a poor  girl.  He  was  elected  to  the 
Council  of  the  Five  Hundred  in  April,  1798.  He  held  many  other  prominent 
positions.  In  1800  his  wife  died,  and  in  1803  he  offended  the  First  Council 
by  marrying  a widow,  Madame  Jouberton.  He  went  into  exile  in  1804, 
settling  in  Rome,  where  he  entered  the  field  of  literature  and  art.  The 
Emperor  (his  brother)  offered  him  a throne,  if  he  would  separate  from  his 
wife;  but  he  refused;  he  was  then  ordered  to  quit  Europe,  and  embarked  for 
the  United  States  in  1810,  but  was  detained  in  England  until  1814.  He  was 
reconciled  to  Napoleon  in  1815,  and  supported  him  actively  during  the 
Hundred  Days. 

He  passed  the  remainder  of  his  life  in  exile  in  Italy,  where  he  wrote 
“Charlemagne,”  etc. 

He  had  six  daughters  and  five  sons.  Died  at  Rome  in  1840. 


INNESS  (George),  N.  A. New  York 

Born  at  Newburgh,  N.  Y.,  1825. 

Died  at  the  Bridge  of  Allan,  Scotland,  1894. 

Studied  art  at  Newark,  N.  J.,  and  engraving  at  New  York. 

Elected  Associate  of  the  National  Academy  of  Design, 

1853,  and  a full  Academician,  1868. 

Visited  Europe  twice  and  lived  some  time  at  Florence  and  Rome. 

“Mr.  Inness  was  the  foremost  American  landscape  painter  and  one  of 
the  most  able  and  individual  of  contemporary  landscapists.  He  takes  rank 
with  such  masters  as  the  men  who  have  made  the  Barbizon  school  the  most 
brilliant  phase  of  French  art,  Corot,  Rousseau  and  Dupre.  While  his  tech- 
nique was  faultless,  his  drawing  forcible,  and  his  coloring  brilliant,  his  fame 
rested  upon  the  subjective  quality  of  his  art.  He  loved  Nature,  and  sym- 
pathized with  her  in  her  moods.”  — New  York  World,  August  5,  1894. 


120 


i\  B.  WALKER  COLLECTION. 


“Mr.  Inness  ranked  as  a painter  with  Rousseau,  Corot,  Diaz,  and  Dupre. 
His  death,  with  that  of  Wyant,  a couple  of  years  ago,  removes  from  the 
scene  the  two  great  American  painters  of  landscape.” 

— News , Newark , N.  1894. 


No.  179 — “Cromwell’s  Bridge.” 

19^x30. 

This  bridge  was  built  by  Cromwell  in  Ireland,  1649,  and  was  erected 
primarily  for  military  purposes,  but  in  a most  substantial  manner.  The 
bridge  spans  a deep,  rugged  gulch,  so  overshadowed  by  the  dense  forest  as 
to  almost  completely  shut  out  the  sunlight.  Like  most  of  Mr.  Inness’s  sub- 
jects, it  is  a study  of  nature  principally,  done  in  this  artist’s  forcible  draw- 
ing and  brilliant  coloring. 


No.  180 — “Harvest  Scene  in  the  Delaware  Valley.” 

30x45. 

A pleasing  landscape  of  wide  meadow  and  river  winding  among  trees. 
In  the  foreground  is  a wheat  field  in  which  the  reapers  are  at  work.  In 
the  middle  distance  some  cattle  are  watering.  There  is  a skilful  distribution 
of  color  in  this  picture,  and  much  air  and  light. 

Mr.  Julius  Oehme,  of  New  York  City,  one  of  the  most  experienced  art 
men  of  the  world,  pronounces  this  as  fine  and  beautiful  as  any  painting  ever 
produced  by  Turner,  and  much  more  permanent  and  durable  than  any  of 
Turner’s  finest  examples. 


INNESS  (George,  Jr.), 

Born  in  New  York  City,  July  5th,  1854. 

Pupil  of  his  father,  George  Inness. 

Studied  under  Leon  Bonnat  in  Paris.  Sketched  in  different  parts  of  Europe. 

Mr.  Inness  has  produced  some  of  the  finest  landscapes  of  any  of  the 
modern  artists,  somewhat  in  the  manner  of  the  work  of  his  father,  yet  more 
refined  and  beautiful  in  color,  tone  and  effect.  George  Inness,  Sr.,  produced 
some  magnificent  paintings,  but  it  was  only  when  he  caught  an  inspiration 
and  color  scheme.  His  son  is  more  successful  in  producing,  almost  always, 
a fine  landscape.  He  has  also  added  figures  and  with  success  produced  reli- 
gious pictures.  He  is  better  known  in  France  than  in  this  country,  as  he  has 
been  there  for  a number  of  years,  studying  and  working  with  the  French  art 
schools. 

Arsene  Alexandre,  who  is  regarded,  perhaps,  as  foremost  art  critic  in 
Europe,  says  of  the  exhibition  containing  Inness’  pictures  as  follows:  “The 

profoundest  sentiment,  the  simplicity  of  motive,  and  the  richness  of  execu- 


INDEX  AND  BIOGRAPHICAL  NOTES. 


121 


tion,  render  the  landscapes  of  George  Inness,  Jr.,  particularly  attractive. 
They  show  the  mark  of  a true  artist  and  an  excellent  painter.  Thus  do  they 
command  the  greatest  consideration.  It  would  be  impossible  to  come 
before  the  public  with  more  discretion  and  modesty  than  Mr.  Inness  has  put 
into  his  work.  Not  by  excessive  canvases,  not  by  anecdote,  does  he  try  to 
become  popular,  and  which  can  be  produced  on  the  boxes  of  various  products. 
In  truth  this  is  contrary  to  all  the  examples  shown.  In  return  he  gives  us 
beautiful  motives,  very  simple,  taken  from  the  grandest  nature,  or  more 
exactly  in  the  grandest  meditation  before  nature,  his  color  always  very  rich 
and  sometimes  of  great  intensity,  but  without  unnecessary  violence.  Finally 
this  reflection,  this  personal  participation  of  the  painter  in  the  scenes  which 
he  gives  us,  is  an  indispensable  condition,  not  only  to  make  good  studies, 
but  more  to  make  fine  pictures. 

“The  painter  truly  deserving  the  name  makes  provision  of  sentiment 
from  nature,  but  it  is  only  when  shut  into  his  own  home  that  he  begins  really 
to  be  free — when  he  arranges,  enriches,  embellishes  and  composes  his  work. 
By  this  operation  the  painting  becomes  a rare  object,  and  one  remains 
a long  time  before  it  in  repose,  because  it  was  a long  time  loved.  There  is 
very  little  chance  that  Ruysdael,  Corot,  Rosseau,  who  worked  thus,  should 
be  mistaken. 

“Inness  is  an  American  who  had  for  his  master,  his  father,  a celebrated 
artist  of  the  United  States.  He  has  worked  much  in  France,  and  it  is  here 
that  he  feels  himself  most  at  his  ease  to  dream  and  work. 

“There  is  a great  variety  of  motive  in  these  pictures  and  a grand  unity 
of  temperament.  This  sentiment  is  earnest  and  profound.  The  silver  hours, 
and  the  golden  hours,  please  him,  above  all — the  clear  hours,  but  still  always 
mysterious,  where  the  earth  and  the  sky  embrace,  or  again,  the  hours  more 
mysterious,  where  the  earth  awakes  and  the  sky  dreams — silver  fogs  of  the 
morning,  golden  fogs  of  the  evening,  veils  infinitely  rich  and  transparent, 
which  the  painter  so  well  sees  from  a distance,  but  in  which  he  makes  one 
feel  the  palpitation  of  life. 

“From  time  to  time  he  shows  the  fresh  and  bright  appearance  of  things, 
but  there  still,  as  in  certain  pictures  of  forests,  one  sees  the  richness  of 
the  pictorial  matter  invested  by  clearness  of  motive.  Several  pictures  amidst 
the  numerous  witnesses  show  to  us  mighty  effects  in  different  styles. 

“The  Venice,  so  harmonious,  and  in  which  the  lines  take  so  much 
grandeur.  The  Pond,  in  the  charming  fresh  morning,  so  delicately  surrounded 
by  vapors.  The  plain  over  which  rolls  a stormy  sky  and  in  which  advances 
a black  and  smoking  train — a canvas  as  happy  as  courageous.  Or  still 
another  picture,  which  shows  not  less  courage,  and  is  not  less  successful, 
where  one  sees  the  tops  of  the  houses  lit  by  the  sun  of  an  evening  in  autumn, 
while  in  the  sky,  changeable  like  silk,  are  proudly  lifted  the  chimneys  of  a 
factory.  This  is  what  can  be  made  of  a subject  in  which  beauty  is  not  per- 
ceived by  the  greater  part  of  the  passing  world — by  a man  who  is  a true 
colorist  and  has  the  emotions  of  a poet. 

“All  this  makes  the  joy  of  painting,  but  a calm,  reflective  joy,  which  is 
only  gotten  at  the  price  of  much  trouble,  many  struggles,  and  intense  anxiety. 

“Mr.  Inness  does  not  show  himself  only  a landscapist.  He  has  several 
times  tried  to  render  his  thoughts  under  subjects  borrowed  from  the  Scrip- 
tures, as  in  ‘The  Entombment/  or  in  ‘The  Golgotha/  where  he  shows  an 
original  composition,  and  a fine  light.  More  than  once,  one  sees  appearing 
before  him  his  destiny  of  rich  and  moving  landscapist,  the  sight  of  which 
will  be  the  reward  offered  by  his  imagination  to  his  merit.” 


122 


T.  B.  WALKER  COLLECTION. 


No.  181 — 4 ‘Rabboni .” 

3454x40. 

Represents  the  scene  of  Mary  meeting  Jesus  as  told  in  John  XX,  be- 
ginning at  the  11th  verse,  “But  Mary  stood  without  at  the  sepulchre  and 
wept;  and  as  she  wept,  she  stooped  down  and  looked  into  the  sepulchre. 

“12.  And  seeth  two  angels  in  white  sitting,  the  one  at  the  head,  and  the 
other  at  the  feet,  where  the  body  of  Jesus  had  lain. 

“And  they  say  unto  her,  ‘Woman,  why  weepest  thou?’  She  saith  unto 
them,  ‘Because  they  have  taken  away  my  Lord,  and  I know  not  where  they 
have  laid  him/ 

“14.  And  when  she  had  thus  said  she  turned  herself  back,  and  saw  Jesus 
standing,  and  knew  not  that  it  was  Jesus. 

“15.  Jesus  saith  unto  her,  ‘Woman,  why  weepest  thou?  whom  seekest 
thou?’  She,  supposing  him  to  be  the  gardner,  saith  unto  him,  ‘Sir,  if  thou 
have  borne  him  hence,  tell  me  where  thou  hast  laid  him,  and  I will  take  him 
away/ 

“16.  Jesus  saith  unto  her,  ‘Mary/  She  turned  herself,  and  saith  unto 
him  ‘Rabboni/  which  is  to  say,  Master.” 

A beautiful,  harmoniously  colored  picture,  representing  the  morning 
light,  apparently  just  before  sunrise.  As  poetic  and  beautiful  as  though 
painted  by  Jules  Breton. 

No.  182 — “Sunset  Scene.” 

15x22. 

A beautiful  sunset  scene,  showing  in  the  foreground  a little  stream  with 
brush  and  a few  trees  along  the  bank.  Farther  on  can  be  seen  a peasant 
woman  carrying  a pail  of  milk.  To  the  right  of  the  center  are  two  cows 
feeding,  while  in  the  distance  can  be  seen  a clump  of  trees  and  a church, 
upon  which  the  setting  sun  throws  a soft,  warm  light.  The  shadows  of 
twilight  are  brightened  here  and  there  by  the  soft  rays  of  the  sun. 

No.  183 — “Evening  on  the  Delaware  Canal.” 

2854x36. 

In  the  lower  right  hand  corner  one  sees  a canal  boat  and  one  lone  boat- 
man pushing  away  from  the  shore.  On  the  right,  far  in  the  distance,  is  a 
small  hamlet  all  but  hidden  by  the  wood  bordering  the  river.  The  artistic 
beauty  of  this  picture  is  in  the  peculiar  light  effects.  In  a close  study  of  the 
picture  we  can  all  but  see  the  rifts  in  the  clouds  through  which  the  sun 
shines,  and  the  moving  clouds  causing  the  lights  and  shadows  to  chase 
each  other  over  hill  and  dale  and  down  even  across  the  broad  meadows  on 
the  left  until  they  are  lost  to  view  in  the  dim  distance.  The  sunset  glory  in 
the  western  sky  is  most  magnificent. 

JACQUE  (Charles  Emile) - Paris 

Born  at  Paris,  1813. 

First  President  of  the  French  Society  of  Animal  Painters. 

Medals,  1851,  1861,  1863,  1864. 

Hors  de  Concours. 

He  died  in  1893,  rich  and  honored,  and  the  sale  of  his  studio  collection 


INDEX  AND  BIOGRAPHICAL  NOTES. 


123 


in  1894,  by  auction  in  Paris,  produced  the  noteworthy  return  of  over  600,000 
francs. 

“His  pictures  of  life  are  marvelous  in  their  minute  representations,  not 
only  in  the  larger  objects,  but  in  the  details. 

“Why  have  Charles  Jacque’s  works  such  a powerful  charm?  It  h be- 
cause they  always  show  us  things  or  persons  such  as  they  are  in  nature; 
because  he  studied  them  in  the  course  of  their  usual  life  and  avocations; 
and  because  this  sincerity  carries  us  without  effect  to  the  scene  that  he 
chooses  to  represent/’  — Artists  of  the  Nineteenth  Century . 

“Few  artists  have  a more  widely  extended,  or  a better  deserved  reputa- 
tion.” — Cyclopedia  of  Painters. 

“But  the  most  incredible  and  ironical  fact,  in  the  glorious  existence  of 
an  artist,  is  that,  medaled  for  painting  in  1849,  1863  and  1864 — all  third  class 
medals,  Charles  Jacque  has  obtained  in  all  seven  medals,  of  which  not  one, 
it  seems  incredible,  has  gone  beyond  the  third  class.  He  is,  without  a doubt, 
the  only  one  among  the  painters  and  engravers  who  has  received  seven  third 
class  medals.  Certainly  he  would  be  justified  in  lightly  valuing  official  recom- 
penses, for  he  is  superior  to  the  highest.” 

— Jules  Claretie,  GoupiVs  Great  Modern  Painters , 1894. 


No.  184 — “Shepherd  and  Sheep.” 

9^x13. 

A compact  flock  of  sheep,  attended  by  a shepherd,  are  coming  down  from 
the  shelter  of  the  woods  to  a small  stream  to  drink.  The  sky,  a little  blue 
showing  through  the  almost  unbroken  gray,  is  seen  beyond  the  trees  on  the 
right.  The  rest  of  the  upper  canvas  is  filled  with  the  dark  green  of  the 
shadowed  trees. 


No.  185— “A  Hot  Afternoon.” 

26x33. 

A shepherd  is  seen  leading  his  flock  from  the  heated  pastures  to  the 
running  brook  beneath  the  shadows  of  the  great  trees  bordering  its  banks. 
The  sheep  walk  with  heads  near  the  ground  indicating  that  they  are  hot 
and  thirsty.  The  shepherd’s  faithful  dog  precedes  them,  however,  and  pro- 
ceeds to  slake  his  own  thirst  while  the  flock  wait  impatiently.  This  has 
been  pronounced  one  of  the  finest  and  most  important  of  the  works  of  this 
famous  painter. 


JETTELL  (E.)  -------  Moravia 

Born  at  Janovitz,  Moravia. 

Member  of  Jury,  Universal  Exposition,  1889. 

Chevalier  of  the  Legion  of  Honor,  1889. 

Hors  de  Concours. 


124 


T.  B.  WALKER  COLLECTION, 


No.  186 — “Evening  in  Finistere.” 

29x36. 

From  Sedelmeyer,  Paris. 

Along  the  well  beaten  road,  a peasant  woman  with  basket  on  her  arm 
and  a stick  over  her  shoulder,  is  driving  her  two  cows  from  the  herding 
grounds  into  the  village.  The  recent  rains  have  left  the  grass  wet  and 
numerous  small  ponds  standing  in  the  roadway;  the  ducks  find  these  sur- 
roundings so  propitious  and  pleasing,  that  they  are  loath  to  leave  it  for 
the  night.  On  the  left  of  the  road  and  far  beyond  the  beautiful  trees  by 
the  roadside,  are  the  gardens  and  farms  of  the  villagers.  Over  the  thatched 
roofs  of  the  village,  the  sun,  like  a great  ball  of  fire  set  in  a leaden  sky,  peeps 
through  breaking  clouds,  casting  a weird  soft  light  over  all  the  landscape. 


JANSSEN  (Cornelius). 

Born  in  Amsterdam  (?),  about  1590. 

Died  between  1662  and  1664. 

Dutch  School;  painted  with  Van  Dyck  for  eight  years. 

“His  style  is  clear,  lively  and  natural;  his  touch  light,  his  pencil  delicate, 
his  carnations  soft  and  sweet,  and  he  painted  his  pictures  with  remarkable 
neatness. 

“His  pictures  are  easily  distinguished  by  their  smooth,  clean,  and  delicate 
tints,  and  by  that  character  of  truth  to  nature  with  which  they  are  strongly 
marked/'  — Spooner's  History  of  Fine  Arts. 

“Janssen’s  portraits  may  be  known  by  their  being  more  highly  finished 
than  those  by  Van  Dyck,  as  he  had  formed  his  own  manner  before  that 
painter  came  to  England.”  —Painters  and  Theit  Work. 

“He  had  already  reached  considerable  celebrity  in  his  own  country  when 
he  visited  England  in  1618.  He  met  with  very  flattering  encouragement,  and 
was  taken  into  the  service  of  James  I,  whose  portrait  he  painted  several 
times.  His  work  is  distinguished  by  a neat  finish  and  a clear  style  of  color- 
ing.” — Bryan's  Dictionary  of  Painters  and  Engravers. 

“His  style  of  coloring  is  clear,  lively,  and  natural;  his  touch  light,  his 
pencil  delicate,  his  carnations  soft  and  sweet,  and  his  pictures  are  finished 
with  remarkable  neatness.  Though  Jenssen  had  neither  the  freedom  of  hand 
nor  the  grace  of  Van  Dyck,  yet  in  other  respects  he  was  deemed  his  equal  and 
the  finishing  of  his  pictures  superior.  His  paintings  are  easily  distinguished 
by  their  smooth,  clear,  and  delicate  tints,  and  by  that  character  of  truth  to 
nature  with  which  they  are  strongly  marked.” 

— Pilkington's  Dictionary  of  Painters. 


No.  187— “Little  Girl” 

30x19  j4. 

From  the  Olden  Barnevelt  Collection. 

The  three-quarter  portrait  is  that  of  a Dutch  girl  about  twelve  years  of 
age.  She  is  attired  in  a dress  and  sack  of  some  dark  material,  with  blue 


INDEX  AND  BIOGRAPHICAL  NOTES. 


125 


stripes  in  front  and  trimmed  in  hand-made  lace,  with  broad  lace  collar.  In 
the  left  hand  she  holds  a pair  of  white  kid  gloves,  while  in  the  right  hand 
is  a jewelled  fan.  This  interesting  portrait  was  no  doubt  painted  in  Amster- 
dam prior  to  his  going  to  England,  although  the  flesh  tints  are  softer  than 
the  Dutch  School,  whence  he  had  his  training,  and  is  considered  a good  ex- 
ample of  this  master’s  work  in  portraiture. 


No.  188 — “Portrait  of  Lady  Carlisle.” 

42x29. 

From  Rustin  Hall,  Northamptonshire. 

Wife  of  Charles  Howard,  Earl  of  Carlisle.  Born  about  1630,  who  was 
employed  in  diplomatic  missions  to  Muscovy,  Sweden,  and  Denmark,  in  the 
reign  of  Charles  II.  He  died  in  1686. 

As  Janssen  died  in  1662,  this  beautiful  portrait  must  have  been  one  of 
his  later  and  best  pictures. 


No.  189— “Earl  of  Carlisle.” 

27^x23. 

From  the  Collection  of  Lord  Chesterfield. 

The  portrait  is  of  Charles  Howard,  first  Earl  of  Carlisle.  He  was  a 
great  grandson  of  Lord  William  Howard,  third  son  of  the  4th  Duke  of 
Norfolk,  and  was  born  about  1630.  Oliver  Cromwell  in  1658  created  him 
Viscount  of  Morpeth.  In  May,  1660,  Charles  II  entered  London  as  the 
recognized  King  of  England.  In  1661  Charles  Howard  was  created  Earl 
of  Carlisle.  Under  the  reign  of  Charles  II  he  was  employed  in  the  diplo- 
matic service  to  Moscovy,  Sweden,  and  Denmark,  and  as  Governor  of 
Jamaica,  died  in  1686.  As  Janssen,  the  painter,  died  between  1662  and  1664, 
and  Howard,  not  having  been  created  Earl  of  Carlisle  until  1661,  it  is  evi- 
dent that  the  portrait  was  painted  between  1661  and  1664,  when  the  Earl 
was  about  31  to  33  years  of  age,  and  is,  no  doubt,  one  of  the  artist’s  last 
works.  The  faultless  finish,  clear  coloring,  and  splendid  drawing  are  uner- 
ring evidences  of  the  later  work  of  Cornelius  Janssen. 


No.  190 — “Lady  Lettice  Digby.” 

49x39. 

Lady  Digby  was  a direct  descendent  of  the  ancient  family  of  Fitzgerald 
of  Kildare.  She  was  created  baroness  of  Offale  for  life,  and  after  her  mar- 
riage to  Lord  Digby  of  Coleshill,  county  of  Langford,  her  extensive  and 
valuable  possessions  were  brought  into  her  husband’s  family.  During  the 
time  of  the  Rebellion,  the  insurgents  often  attacked  her  residence,  “Castle 
Geashill,”  but  were  as  often  repulsed,  as  it  is  recorded  that  she  met  these 
assaults  with  “great  resolution.”  She  died  in  1658,  just  six  years  earlier 
than  the  death  of  the  painter,  and  lies  buried  in  the  renowned  Cathedral 
of  St.  Patrick.  She  was  survived  by  her  husband,  seven  sons,  and  three 
daughters.  The  portrait  is  that  of  a woman  probably  about  30  years  of 
age,  with  brown  eyes  and  hair,  classic  features  and  beautiful,  clear  com- 


126 


T.  B.  WALKER  COLLECTION. 


plexion.  She  is  seated  in  an  armed  chair  on  a draped  portico  attired  in  a 
low  necked  white  satin  gown,  the  half  length  puffed  sleeves  trimmed  with 
broad  bands  of  hand  made  lace,  while  the  low  neck  is  encircled  by  a broad 
collar  of  the  same  variety  of  Irish  lace.  The  whole  portrait  finished  in 
Janssen’s  inimitable  style. 


JONES  (Hugh  Bolton). 

American  School. 

Born  in  Baltimore,  Md.,  Oct.  20,  1848. 

Landscape  Painter. 

Studied  in  Baltimore,  and  in  Spain  and  Brittany. 

A.  N.  A.  1881,  N.  A.  1883. 

“In  1877  he  made  a sketching  tour  in  Brittany  and  Spain,  sending  the 
result  of  his  labors  to  Baltimore,  where  several  of  his  pictures  were  exhibited 
in  1878.  He  has  been  a regular  contributor  to  the  National  Academy  since 
1874.”  — Artists  of  the  Nineteenth  Century. 

“In  1877  visited  Europe  and  studied  there  four  years,  sketching  in 
Brittany  and  Spain.”  — Cyclopedia  of  Painters  and  Paintings. 


No.  191— “Geneva” 

7x11. 

This  beautiful  little  panel  was  painted  by  the  artist  while  abroad,  and 
sent  to  his  mother  as  a present,  as  well  as  to  acquaint  her  with  the  progress 
he  was  making  in  his  chosen  profession.  The  devoted  mother  treasured  the 
painting  far  above  any  other  of  her  belongings,  but  finally  reluctantly  parted 
with  it  for  the  comforts  the  liberal  consideration  would  bring  to  her  in  her 
declining  years. 

Geneva  is  the  largest  city  in  Switzerland,  and  is  situated  on  the  south- 
western extremity  of  the  beautiful  lake  of  the  same  name.  In  1876  the 
canton  of  Geneva,  which  includes  the  city,  had  99,352  inhabitants,  nearly 
evenly  divided  between  Catholic  and  Protestant. 


JULIEN  (Simon). 

French  Historical  Painter. 

Born  at  Toulon,  October  28,  1735. 

Died  in  Paris,  February  23,  1800. 

Studied  under  Dandre  Bardon  at  Marseilles. 

Also  student  of  Carle  van  Loo  at  Paris. 

Grand  Prix  de  Rome  at  Paris  Academy,  1760. 

Called  Julien  l’Apostat. 

“When  he  joined  Natorie’s  school,  the  pupils  of  the  other  masters 
called  him  ‘Julien  the  Apostate.’  He  afterwards  styled  himself  ‘Julien  de 
Parme’  after  his  patron,  the  Duke  of  Parme.” 

— Cyclopedia  of  Painters  and  Paintings. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


127 


No.  192 — “The  Coming  Storm.” 

11x14. 

The  sky  which,  but  a few  moments  ago,  shone  clear  and  blue,  is  now 
overspread  with  great  angry  clouds,  boiling  and  seething  like  ocean  billows. 
Gradually  a pall  of  darkness  approaches,  preceded  by  a weird  ominous  light, 
mysteriously  appalling,  touching  first  the  distant  tree  tops,  then  stealing 
up  across  the  meadows  until  the  whole  landscape  is  resplendent  with  its 
ghost-like  shroud.  The  last  rays  of  the  sun  strive  to  break  through  the 
rapidly  gathering  gloom.  The  thunder  roars,  and  the  wind  moans  and 
shrieks  as  it  sways  the  great  trees,  and  twists  and  tangles  the  tall  grasses 
of  the  meadow,  and  chases  miniature  white  caps  over  the  surface  of  the 
little  stream.  The  husbandman  hurriedly  pushes  his  boat  into  the  stream, 
in  an  endeavor  to  reach  the  shelter  of  his  home  ere  the  fury  of  the  storm 
breaks.  A difficult  subject  handled  in  a masterly  and  artistic  manner. 

KAUFFMAN  (Marie  Anna  Angelica  Catharina). 

Born  at  Coire  in  the  Grisons,  Switzerland,  October  30,  1741. 

Died  at  Rome,  November  5,  1807. 

History  and  Portrait  Painter. 

Daughter  and  Pupil  Joseph  Kauffman. 

One  of  the  Original  Thirty-Six  Members  of  the  Royal  Academy,  London. 

“She  was  very  beautiful  and  highly  accomplished,  for  she  was  not  only 
a painter,  but  knew  several  languages  and  was  a good  musician.  Of  course 
she  acquired  these  accomplishments  gradually  and  it  was  from  about  1754 
when  her  family  moved  to  Milan  that  she  made  rapid  progress  in  art  and 
other  things.  In  1757  her  mother  died;  she  then  went  with  her  father  to 
Florence,  and  arrived  in  Rome  in  1759.  There  her  talents  excited  great  ad- 
miration. In  1764  she  went  to  Venice,  and  having  become  acquainted  with 
Lady  Wentworth,  in  1765  came  with  her  to  England.  Angelica’s  brilliant 
reputation  caused  her  to  be  received  with  great  distinction  and  she  found 
a kind  patron  and  protectress  in  the  young  Queen  Charlotte.  It  is  said 
she  was  much  admired  by  Sir  Joshua  Re3molds,  and  Sir  Nathaniel  Dance, 
another  painter,  wandered  hopelessly  through  Italy  after  her.  Unfortunate- 
ly she'  was  deceived  into  marrying  clandestinely  in  1769,  a servant  who  had 
the  address  to  pass  himself  off  for  his  master  Count  Frederick  de  Horn, 
a Swedish  nobleman.  It  was  with  difficulty,  and  by  the  payment  of  sev- 
eral hundred  pounds,  that  she  got  rid  of  this  imposter,  and  after  his  death 
she  married  in  1782  Zucchi,  a Venetian  artist  long  settled  in  London.  She 
then  retired  to  Rome  where  she  enjoyed  for  many  years  an  undiminished 
reputation  and  after  her  death  was  buried  with  great  pomp.” 

— Painters  and  Their  Works. 

“She  married  Antonio  Zucchia,  a Venetian  painter  and  an  Associate  of 
the  Royal  Academy  and  left  London  a few  days  afterward.  In  1782  her 
father  died,  and  in  the  following  year  she  retired  with  her  husband  to  Rome. 
Her  husband  died  there  in  1795  and  she  herself  in  1807.  She  was  buried 
in  Saint  Andrea  della  Frate.  * * * She  contributed  eighty-two  pictures 

to  the  Royal  Academy  between  the  years  1769  and  1797.  She  was  twice 
painted  by  Sir  Joshua  Reynolds.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 


128 


T.  B.  WALKER  COLLECTION. 


“Having  visited  Milan,  Bologna  and  Parma,  was  in  Florence  in  1762,  in 
Rome  in  1763-4,  whence  she  visited  Naples,  then  in  Bologna  in  1765,  and 
studied  in  Venice,  Titian,  Tintoretto  and  Paolo  Veronese.  In  1776  she 
accompanied  Lady  Wentworth  to  England  where  she  met  with  the  most 
flattering  reception.  * * * Went  to  Venice  and  in  1782  to  Rome  and 
Naples,  where  she  was  in  great  favor  with  the  royal  family.  On  her  re- 
turn to  Rome  the  Emperor  Joseph  II  sought  her  acquaintance  and  gave  her 
commission  for  his  gallery.” 

— Cyclopedia  of  Painters  and  Paintings. 


No.  193 — “Persian  Mother  and  Children.” 

39x31. 

From  the  Collection  of  Lady  Cartwright. 

This  beautiful  bit  of  portraiture  is  truly  characteristic  of  this  wonderful 
woman’s  best  work,  showing  not  only  a cleverness  in  drawing  and  perfect 
harmony  in  colors,  but  a dignity,  grace  and  refinement  seldom  equaled  and 
scarcely  ever  surpassed.  The  greatest  and  most  successful  works  of  any 
artist,  are  those  which  most  nearly  reflect  the  character  and  individuality 
of  the  painter,  and  this  beautiful  and  accomplished  woman,  naturally  ex- 
celled in  her  portraits  of  women  and  children,  as  in  these  she  could  more 
clearly  follow  out  her  own  delicate  ideals.  Many,  even  of  the  masters, 
were  wont  to  flatter  their  subject  by  rounding  out  the  natural  defects  of 
nature,  but  Angelica  painted  a perfect  likeness,  adding  only  where  neces- 
sary, a touch  of  modesty,  a bit  of  grace,  or  perchance  a mite  of  refined 
personality.  Thus,  in  this  beautiful  Persian  mother  and  her  two  no  less 
beautiful  children,  she  has  left  to  the  world  not  only  a most  excellent  work 
of  art,  but  a lasting  reflection  of  those  most  worthy  and  commendable  traits 
in  her  own  noble  character. 

KNAUS  (Prof.  Ludwig)  - --  --  --  - Dusseldorf 

^ f q f f.  Born  at  Wiesbaden,  1829. 

Pupil  of  Jacobi,  of  the  Academy  of  Dusseldorf. 

Afterwards  allied  himself  with  Lessig,  Leutze  and  Weber. 

Spent  eight  years  in  Paris  studying  the  method  of  the  French  painters. 

Member  of  the  Academies  of  Berlin,  Vienna,  Munich,  Amsterdam,  Antwerp 
and  Christiania,  and  Knight  of  the  Order  of  Merit. 

Legion  of  Honor,  1859. 

Medal  of  Honor,  1867;  Officer  of  the  Legion  of  Honor,  1867. 

Medals,  Vienna,  1882;  Munich,  1883;  Antwerp,  1855. 

Professor  ^ the  Academy  of  Berlin. 

“Ludwig  Knaus  enjoys  the  unique  distinction  of  being  accepted  by  Ger- 
many as  her  chief  painter  of  genre,  and  by  the  world  as  one  of  the  leading 
masters  in  that  art.  He  owes  his  double  triumph  to  the  variety  and  inde- 
pendence of  his  genius.”  — Cyclopedia  of  Painters. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


129 


No.  194— “The  Spat.” 

24x24 — Circle. 

“A  painting  as  rich  in  tone  as  the  Old  Masters.” 

Of  this  painting  and  its  mate,  “The  Reconciliation,”  Mr.  Knaus  says: 
“The  two  paintings  in  oval  shape,  representing  playful  Cupids,  which 
Mr.  Knoedler  purchased  from  the  estate  of  the  art  dealer,  Lepke,  in  Berlin, 
were  painted  by  me  twenty  years  ago  for  my  house  in  Dusseldorf,  where  they 
remained  until  my  departure  from  there  in  the  year  1877.” 

(Signed)  Ludwig  Knaus. 

Berlin,  December,  1887. 

A.  R.  A.  in  1826;  R.  A.  in  1830;  Knighted  in  IfcoU 


LAWRENCE  (Sir  Thomas)  -------  England, 

Born  at  Bristol,  1769.  Died  at  London,  1830. 

Entered  the  schools  of  the  Royal  Academy  as  a student,  1787. 

Elected  an  Associate  of  the  Royal  Academy,  1791. 

Received  the  Honor  of  Knighthood,  1815. 

Elected  President  of  the  Royal  Academy,  1820. 

Chevalier  of  the  Legion  of  Honor,  1825. 

“The  first  great  name  which  meets  the  student  of  painting  in  England 
in  the  nineteenth  century  is  that  of  Sir  Thomas  Lawrence.” 

— N.  D’ Anvers’  Elementary  History  of  Art. 

“Sir  Thomas  Lawrence  takes  rank  next  to  Reynolds  in  the  numerous 
band  of  British  portrait  painters.”  — Pilkington  s Dictionary  of  Painters. 


No.  195— “Portrait  of  a Child” 

18x14. 

A bust  length  figure  of  a fair  haired  child.  The  head  is  turned  slightly 
to  the  right,  the  hair  falling  in  graceful  ringlets  upon  the  uncovered  shoulders. 
In  whatever  way  the  spectator  may  view  this  picture,  he  will  not  fail  to  be 
touched  by  the  innocent  beauty,  the  charming  simplicity  and  grace  depicted 
in  this  childish  face. 

The  design  of  Lawrence  is  graceful  and  unaffected;  his  coloring  is  clear 
and  brilliant,  with  a soft  splendor,  particularly  in  his  portraits,  which  render 
them  fascinating  in  the  highest  degree. 


No.  196 — “Portrait  of  Mrs.  William  Southby.” 

3oy2X25y2. 

Purchased  by  Thomas  McLane,  of  London,  from  the  sale  of  the  pictures 
of  one  of  the  descendants  of  Wm.  Southby.  The  picture  is  one  of  the  char- 
acteristic paintings  of  this  noted  artist  and  in  one  of  his  most  silvery  and 
brightest  tones.  Lawrence  also  painted  Wm.  Southby,  as  well  as  this  por- 
trait of  Mrs.  Southby. 


130 


T.  B.  WALKER  COLLECTION. 


No.  197 — “Portrait  of  Sir  Edward  Codrington.,, 

30x24. 

Sir  Edward  Codrington  was  an  English  Admiral,  born  in  1770,  died  in 
London  in  1851.  Was  Vice-Admiral  of  the  English  fleet  in  1821  and  in  full 
command  in  1826.  Was  in  chief  command  of  the  combined  British,  Russian 
and  French  fleets  in  the  battle  of  Navarino  in  1827.  Member  of  Parliament, 
1832  to  1839.  This  picture  is  from  the  collection  of  Lady  Penelope  Gage. 


No.  198 — “The  Countess  of  Darnley.” 

44x28 

Painted  about  A.  D.  1790. 

Wife  of  John  Bly,  fourth  Earl  of  Darnley.  It  is  not  likely  that  Sir 
Thomas  Lawrence  ever  painted  a more  beautiful  portrait.  The  beauty,  bear- 
ing and  modest  grace  of  the  countess,  the  drapery  of  the  figure  and  the 
rich  architectural  background  are  all  portrayed  in  the  best  style  and  finish 
of  this  great  painter. 


LANDSEER  (Sir  Edwin  Henry,  R.  A.). 

Eminent  Animal  Painter.  English  School. 

Born  at  83  Queen  Anne  Street  East,  London,  March  7,  1802. 

Died  at  St.  John’s  Wood,  London,  Oct.  1,  1873. 

Gold  Medal  French  Exhibition,  1855.  Gold  Medal,  Vienna  Exhibition,  1873. 

Student  of  his  father  and  of  the  Royal  Academy. 

"In  the  South  Kensington  Museum  are  nine  drawings  executed  at  a 
very  early  age,  some  of  them  having  been  made  when  he  was  but  five  years 
old.  His  first  appearance  in  public  occurred  in  1815,  when  on  the  walls  of 
the  Royal  Academy  Exhibition  appeared  a “Portrait  of  a Man”  and  portraits 
of  a “Pointer  Bitch  and  Puppy.” 

— Bryan’s  Dictionary  of  Painters  and  Paintings. 

“In  person  Landseer  was  small,  but  he  was  full  of  activity  and  as  a 
curly  headed  lad,  sat  to  Leslie  for  his  picture,  “The  Death  of  Rutland.”  He 
was  also  very  witty,  a clever  mimic,  and  an  agreeable  companion,  although 
subject  at  times  to  fits  of  depression  which  later  in  life  became  more  pro- 
longed. It  is  difficult  to  follow  him  through  his  long  and  active  career 
during  which  he  produced  a very  large  number  of  pictures  in  oils  and  water 
colors  and  many  etchings.  * * * An  able  French  critic  has  given  it  as 

his  opinion  that  Landseer  was  “Un  des  plus  grands  peintres  d’animaux  des 
temps  moderns.”  — Painters  and  Their  Works. 


No.  199— “The  Three  Dogs.” 

37x46. 

From  the  sale  of  Landseer’s  studio  by  Mr.  Archer,  of  London. 

A black  Irish  setter,  a beagle  hound,  and  a fine  English  setter,  stand  mo- 
tionless on  the  briar-grown  hill  awaiting  impatiently  the  word  from  their 


INDEX  AND  BIOGRAPHICAL  NOTES. 


131 


master,  that  will  send  them  bounding  and  baying  after  the  coveted  game. 
Anxiety  is  pictured  upon  every  face  and  each  ear  attuned,  listening,  intently 
for  the  magic  command.  In  composition  and  drawing,  the  most  minute 
detail  is  brought  out  as  completely  as  the  figures  themselves,  even  to  the 
thorns  on  the  briar  bushes,  and  the  smooth  and  the  matted  hair  on  the 
dogs.  The  splendid  arrangement,  the  distribution  of  color,  and  the  charming 
tone  make  of  this  a most  pleasing  and  interesting  picture. 

LAURENS  (Jean  Paul) France 

Born  at  Fourquevaux  (Haute-Garonne),  1838. 

Pupil  of  Bida  and  Leon  Cogniet. 

Medals,  1869  and  1872. 

Medal  of  Honor,  1877. 

Officer  of  the  Legion  of  Honor,  1878. 

Member  of  the  Jury  of  the  Exposition,  and  of  the  Salon. 

“Laurens  is  an  ‘intellectual’  artist,  having  a full  conception  of  dramatic 
effects.  In  the  tragic  subjects  which  he  greatly  affects,  and  which  have  given 
him  the  title  ‘painter  of  the  dead/  he  maintains  quiet  conservatism;  he 
exaggerates  neither  expression  nor  gesture,  and  from  details  of  which  he  is 
fond,  selects  most  felicitous  combinations.”  — History  of  French  Painting. 


A characteristic  Laurens.  Dark,  rich  and  powerful.  Lucretia  Borgia  is 
in  prison.  She  stands  leaning  on  the  ledge  of  the  deep  embrasure  window, 
through  which  a narrow  strip  of  vivid  Italian  sky  is  visible.  The  light  falls 
on  her  auburn  hair  and  white  shoulders,  and  lights  up  the  rich  folds  of  the 
gray-green  brocade  of  her  robe.  Behind  her  are  the  dark  tapestries  and 
furnishings  of  her  prison  apartment.  One  feels  the  depth  of  her  plotting 
infamy  in  the  cold  impenetrability  of  her  face.  Laurens  has  painted  larger 
and  more  striking  pictures  than  this,  but  never  one  in  which  cold-hearted 
treachery  was  more  powerfully  rendered. 


Pupil  of  Leon  Cogniet. 

Prize  of  Rome,  1861. 

Medals,  1865,  1868,  and  1870. 

Cross  of  the  Legion  of  Honor,  1870. 
Officer  of  the  Legion  of  Honor,  1878. 
Grand  Medal  of  Honor,  1886. 

Hors  de  Concours. 

Member  of  the  Jury  at  Vienna  Exposition,  1882. 


“His  skilful  and  delicate  painting  of  flesh,  and  his  fine  characterization, 


No.  200 — “Lucretia  Borgia.” 

24x20. 


LEFEBVRE  (Jules  Joseph) 


Paris 


Born  at  Tournan,  1824. 
Genre  and  portrait  painter. 


render  him  a distinguished  painter.” 


— History  of  French  Painting. 


132 


T.  B.  WALKER  COLLECTION. 


No.  201— “The  Jewel  Bearer.” 

22*4x18. 

A half-length  figue  of  a young  girl  in  a quaint  dress  and  velvet  cap,  bear- 
ing in  her  hands  the  Queen’s  jewel  casket.  The  straight  black  hair,  full  brown 
eyes  and  soft  olive  complexion,  render  it  a picture  full  of  maidenly  grace  and 
innocence. 

The  hand  holding  the  jewel  case  is  remarkably  well  drawn,  and  the 
flesh  tint  so  natural  as  to  almost  outdo  nature. 

LEFEVRE  (Robert)  ---------  France 

Born  at  Bayeux,  1756.  Died,  1831. 

Genre  and  portrait  painter.  Pupil  of  Regnault. 

Removed  to  Paris,  1784. 

Legion  of  Honor,  1814. 

Exhibited  in  many  Salons  from  1791  to  1827. 

“His  celebrated  painting,  “Cupid  Disarmed  by  Venus”  (1795),  hangs  in 
the  Louvre. 

“He  painted  the  portraits  of  Napoleon  and  Josephine,  and  made  twenty- 
seven  copies  for  different  princes  and  dignitaries  of  Europe.  At  the  restora- 
tion of  the  Bourbons  he  was  employed  to  paint  the  portraits  of  Louis  XVIII 
for  the  Chamber  of  Peers,  which  gained  for  him  the  appointment  of  painter 
to  the  King,  and  admission  to  the  Legion  of  Honor.  Among  his  other  por- 
traits are  those  of  Charles  X and  the  Duchesses  d’Angouleme  and  de  Berri.” 

— Spooner's  History  of  Fine  Arts. 

“As  a portrait  painter  he  enjoyed  a high  reputation.  He  painted  the 
Emperor  Napoleon  I,  the  Empress  Josephine,  Pope  Pius  VII,  and  all  the 
principal  personages  of  the  Empire  and  the  Restoration.  In  1814  he  was  com- 
missioned to  paint  the  portrait  of  Louis  XVIII  for  the  Chamber  of  Peers, 
and  was  appointed  principal  painter  of  the  Cabinet  and  Chamber  of  the  King, 
and  made  a Knight  of  the  Legion  of  Honor.  He  died  in  consequence  of  an 
accident,  at  Paris,  January,  1831.”  — Ottley’s  Painters  and  Engravers. 

No.  202 — “Portrait  of  Napoleon  Bonaparte.” 

27x23. 

This  portrait  was  painted  for  Napoleon  in  1810.  Lefevre  was  then  court 
painter,  and  produced  the  picture  from  actual  sittings  and  observations  at 
the  time.  The  picture  hung  for  several  years  in  Napoleon’s  private  apart- 
ments at  Fontainebleau.  While  in  exile  on  the  Isle  of  St.  Helena,  Napoleon 
directed  its  presentation  to  the  Duke  of  Treviso  (Field  Marshal  Mortier), 
one  of  Napoleon’s  most  trusted  and  highly  esteemed  commanders.  The 
picture  was  owned  by  Mortier  and  hung  in  his  library  during  the  remainder 
of  his  life,  and  at  his  death  it  was,  by  his  will,  left  to  his  nephew,  Count  de 
LaGrange.  At  the  death  of  Count  de  LaGrange,  many  years  later,  the  pic- 
ture, under  the  laws  of  France,  was  sold,  with  the  remainder  of  his  personal 
estate,  by  the  French  government,  and  the  history  of  the  picture  given 
officially  at  the  time  of  the  sale.  It  was  purchased  by  one  of  the  leading  art 
collectors  of  Paris,  Viscount  de  Beaupleau,  of  whom  the  picture  was  ob- 
tained. At  the  time  of  its  purchase  it  was  on  its  way  to  the  art  gallery  of 


INDEX  AND  BIOGRAPHICAL  NOTES. 


133 


the  Invalides,  or  Tomb  of  Napoleon,  where  it  was  to  enter  into  an  exhibition 
of  the  great  painters  of  the  country,  and  was  intended  for  the  place  of  honor 
of  the  whole  collection.  It  had  been  the  central  picture  at  the  exhibition  of 
the  “Great  Pictures  of  the  Century”  in  1885,  where  it  attracted  much  attention, 
and  was  given  a conspicuous  position,  not  only  as  a portrait,  but  as  the  one 
among  the  great  pictures  of  the  century. 

This  portrait  represents  Napoleon  in  his  military  dress,  as  commander  of 
the  French  armies.  Taken  in  his  prime,  when  at  the  age  of  forty-one,  having 
been  painted  in  1810,  six  years  after  he  was  crowned  Emperor  of  the  French. 

As  the  picture  undoubtedly  had  the  approval  of  Napoleon  himself,  as 
shown  from  its  production  by  his  order  and  its  retention  by  himself  in  his 
private  apartments  as  his  personal  property,  and  presented  afterwards  as  a 
substantial  token  of  his  respect  and  esteem  to  that  one  of  his  field  marshals 
whom  he  seemed  to  respect  and  esteem  more  highly  than  any  other,  it  cer- 
tainly has  the  highest  claims  of  any  existing  portrait  to  being  considered  a 
correct  and  accurate  portrayal  of  the  greatest  commander,  statesman  and 
ruler  in  history. 

J.  T.  Headley,  speaking  of  the  Duke  of  Treviso,  in  his  work  “Napoleon 
and  His  Marshals,”  says: 

“Mortier  was  a noble-hearted  man,  of  great  valor,  tempered  with  pru- 
dence, and  of  incorruptible  integrity.  Napoleon  loved  some  of  his  generals 
for  their  chivalric  devotion  to  him,  while  he  had  no  great  admiration  for 
their  character — others  he  tolerated  because  they  were  useful;  while  some 
few  received  both  his  respect  and  affection.  Mortier  belonged  to  the  latter 
class.  Napoleon  loved  the  frank,  unostentatious  and  heroic  chieftain,  whom 
he  had  proved  in  so  many  trying  circumstances.  Tall  and  well  formed,  his 
splendid  and  commanding  figure  moved  amid  the  chaos  of  a battlefield  like 
some  ancient  hero,  while  his  calm  and  powerful  voice  would  restore  confi- 
dence in  the  very  moment  of  despair.” 

(Translation.) 

“This  picture  was  presented  during  his  exile,  by  Napoleon  I to  Marshal 
Duke  of  Treviso,  who,  by  his  last  will,  left  to  his  nephew,  Comte  de  LaGrange. 
When  the  said  Comte  de  LaGrange  died,  it  was  part  of  the  sale  after  his 
death,  and  at  that  sale  was  purchased  by  the  undersigned.  This  said  picture 
(under  the  heading  No.  203  of  the  official  catalogue)  was  the  central  picture 
of  the  collection  of  the  ‘Pictures  of  the  Century’  at  the  Exposition  of  L’Ecole 
des  Beaux  Arts. 

“This  said  information,  and  particulars  of  this  document,  is  hereby 
certified  to,  sincerely  and  authentically  and  with  the  most  complete  exact- 
ness.” 

Personal  Seal 

(Signed)  and 

Viscount  de  Beaupleau.  Seal  of  France. 

LEROLLE  (Henri)  - --  --  --  - - France 

Born  at  Paris. 

Pupil  of  Lamothe. 

Medals,  1879;  first  class,  1880. 

Hors  de  Concours. 

His  picture  of  1880  is  in  the  Luxembourg  Museum,  and  that  of  1885  in 
the  Metropolitan  Museum  of  New  York. 

A real  impressionist,  like  Breton,  Millet,  and  Cazin. 


134 


T.  B.  WALKER  COLLECTION. 


No.  203 — “The  Resting  Place” 

27x24. 

Two  girls  returning  from  the  fields  have  stopped  to  rest  on  the  old 
flower-grown  bench  by  the  pathway.  This  resting  place  is  on  the  crest  of 
the  hill  o’erlooking  the  village,  in  a beautiful  grass  plat  near  the  edge  of 
the  shady  woods.  One  girl  stands  with  pail  in  hand  earnestly  conversing 
with  the  other,  who  is  seated  upon  the  rustic  bench.  Just  over  the  hill  is 
the  village,  while  beyond  are  the  farms  and  gardens  of  the  villages,  reach- 
ing away  to  the  line  of  blue  hills  in  the  dim  distance.  The  tone  is  much 
after  the  style  of  Cazin. 


No.  204 — “The  Last  Sheaf.” 

33x24. 

In  the  foreground  the  artist  presents  two  female  figures  at  work  in  the 
fields.  One  with  a child  in  her  arms  stands  watching  the  other,  who  is 
in  the  act  of  gathering  up  “The  Last  Sheaf,”  while  just  beyond  are  the 
ricks,  where  the  balance  of  the  crop  has  been  carefully  stacked  ready  for 
the  threshers  or  the  flail.  The  field  has  been  sown  to  clover,  which  even 
now,  all  but  hides  the  stuble,  and  covers  the  surface  with  a carpet  of  living 
green,  while  beyond  the  field,  the  forest  stands  out  against  a background  of 
blue  sky,  partially  covered  by  fields  of  sombre  clouds.  In  this  interesting 
picture,  the  artist  uses  much  of  the  style  of  Millet,  and  the  tones  of  Breton. 


LE  BRUN  (Charles)  ----------  Paris 

Born  at  Paris  in  1619.  Died  in  1690. 

Studied  under  Simon  Vouet  in  Paris,  and  Nicholas  Poussin  in  Rome. 

Was  made  Premier  Court  Painter  in  1648. 

In  1662  he  was  ennobled,  appointed  Director  of  all  the  public  works,  and 
Director  General  of  the  manufacture  of  tapestry  at  the  Gobelins. 

He  was  also  appointed  Director  General  of  the  Academy  of  Painters. 

“He  was  justly  called  the  Louis  XIV  of  Art,  and  at  the  zenith  of  his 
fame  well  might  have  said,  in  the  sentiment  of  his  royal  master,  ‘le  peinture, 
c’est  moi.’  He  developed  early  the  vigour  and  industry  which  characterized 
him  through  life,  and  while  a mere  boy  obtained  the  patronage  of  such  men 
as  Richelieu  and  the  Chancellor  Seguier.  So  well  did  Le  Brun  follow  the 
teachings  of  the  great  master  that  he  painted,  at  this  time,  some  pictures  that 
were  attributed  to  Poussin,  such  as  the  ‘Mucius  Scaevola,’  now  in  the  Louvre. 
A few  of  his  later  works  also  recall  the  same  influence.  But  after  his  re- 
turn to  Paris,  in  1646,  whither  his  great  reputation  had  preceded  him,  his 
natural  talent,  favored,  perhaps,  by  circumstances,  soon  led  Le  Brun  in  a 
different  direction.  His  success  was  great  and  uninterrupted  and  it  was 
equaled  by  his  industry. 

“But  to  1660,  the  year  in  which  he  was  made  Director  of  the  Gobelins, 
by  Colbert,  belong  the  first  important  works  which  he  executed  for  the  king. 
These  were  the  celebrated  series  of  pictures  on  the  life  of  Alexander,  now  in 
the  Louvre,  comprising  the  ‘Entry  into  Babylon,’  the  ‘Tent  of  Darius,’  the 


INDEX  AND  BIOGRAPHICAL  NOTES. 


135 


‘Passage  of  Granicus,’  and  the  ‘Battle  of  Arbela.’  They  are  completely  typi- 
cal both  of  the  artist  and  his  time.  They  are  splendid  decorative  pictures, 
in  which  great  subjects  are  represented  with  an  inexhaustible  fertility  of  in- 
vention, nobility  of  conception  and  a power  of  vividly  expressing  outward 
action.  Their  technical  excellence  is  also  great,  and  the  costumes  are  care- 
fully studied.  These  pictures  are  the  work  of  several  years,  but  on  the  com- 
pletion of  the  ‘Darius,’  Le  Brun  was  made  first  painter  to  the  king,  and 
thenceforth  became  supreme  in  the  world  of  art.” 

— Spanish  and  French  Painters , by  Gerard  W.  Smith. 

“The  whole  arrangement  of  the  royal  palaces  was  entrusted  to  his  care, 
and  to  his  intuition  was  due  in  great  measure  the  foundation  of  the  Academy 
of  Painting  by  Louis  XIV.  in  1648,  and  the  establishment  of  the  French  school 
in  Rome. 

“In  the  Louvre  there  are  twenty-two  of  his  pictures,  at  the  head  of 
which  stands  the  ‘History  of  Alexander.’  This  famous  series,  which  was 
ordered  by  Louis  XIV.  in  1660  and  which  was  completed  in  1668,  is  no  less 
important  among  his  works  than  the  ‘History  of  S.  Bruno,’  among  those  of 
Le  Sueur.  It  comprises  the  ‘Passage  of  the  Granicus,’  the  ‘Battle  of  Arbela,' 
the  ‘Family  of  Darius  made  Captive,’  the  ‘Defeat  of  Porus,’  and  the  ‘Tri- 
umph of  Alexander  at  Babylon,’  an  evident  allegorical  flattery  of  the  early 
triumphs  of  the  great  Louis.  The  painter  had  the  good  fortune  to  have  it 
engraved  by  Edelinck  and  Audran.  The  other  great  paintings  of  Le  Brun  are 
the  ‘Day  of  Pentecost,’  where  he  has  introduced  himself  in  the  figure  of 
the  disciple  standing  on  the  left;  the  ‘Christ  with  Angels,’  painted  to  im- 
mortalize a dream  of  the  queen-mother;  and  the  ‘Repentant  Magdalen,’  which 
is  called  by  some  ‘Mademoiselle  de  la  Valliere.’” 

— History  of  Art,  by  N.  D’ Anvers. 

“Recalled  to  Paris  in  1648,  he  was  received  into  the  Academy,  protected 
by  Fouquet,  presented  to  Louis  XIV,  by  Cardinal  Mazarin,  and  made  court 
painter.  In  1662  the  king  ennobled  him,  gave  him  the  general  care  of  all 
works  of  art  in  royal  buildings,  and  made  him  director  of  the  Gobelins,  and 
successively  rector,  chancellor  and  director  of  the  Academy  of  Painting.  In 
1666  Le  Brun  induced  the  king  to  found  the  French  Academy  at  Rome, 
where,  though  absent,  he  was  made  prince  of  the  Academy  of  St.  Luke.” 

— Cyclopedia  of  Painters  and  Paintings. 

“Le  Brun  excelled  in  composition,  and  there  is  often  great  ingenuity  and 
poetry  in  his  works.  His  works  were  very  numerous  in  the  palaces  of 
France,  and  easel  pictures  by  him  are  to  be  found  in  all  the  galleries  of 
Europe.”  — Painters  and  Their  Works,  by  R.  N.  James. 

“Le  Brun  belongs  to  the  classical  and  artificial  school,  of  which  he  is  a 
favorable  example.  His  best  works  are  a series  of  pictures  representing  the 
battles  of  Alexander,  now  in  the  Louvre.  In  composition  and  in  execution 
they  have  much  merit.” — Famous  Painters  and  Paintings,  by  Mrs.  J.  A.  Shedd. 

There  are  twenty-two  important  paintings  by  Le  Brun  in  the  Louvre, 
also  examples  in  the  Versailles  Museum;  Rennes  Gallery;  Bordeaux  Museum; 
Lyons  Gallery;  Caen  Gallery;  Nantes  Gallery;  Geneva  Gallery;  Old  Pinako- 
thek  Gallery,  Munich;  Stuttgart  Gallery,  Liechtenstein;  Venice  Academy; 
Dulwich  Academy;  Royal  Academy  of  England;  Earl  of  Darnley  Gallery; 
Earl  of  Yarborough  Gallery;  National  Gallery,  Pesth;  Lord  Nelthorp  Gal- 
lery; and  in  the  great  staircase  and  ceiling  of  the  gallery  at  Versailles;  also 
in  the  gallery  at  St.  Germain,  and  in  the  Castle  and  Pavilion  of  Sceaux. 


136 


T.  B.  WALKER  COLLECTION. 


No.  205 — “Marius  on  the  Ruins  of  Carthage/’ 

45^x36. 

The  picture  represents  Caius  Marius,  of  whom  the  historian  says, 
“No  Roman  ever  rendered  greater  service  to  the  state,  and  no  Roman  ever 
rose  so  high  to  fall  so  low,  with  the  single  exception  of  Pompey.”  He  was 
seven  times  Roman  Consul.  Having  been  finally  defeated  by  Sulla,  Marius 
was  compelled  to  fly,  and  while  concealed  in  the  march,  was  found  by  his 
pursuers  and  imprisoned  at  Minturnse.  A Cimbric  soldier  was  ordered  to 
dispatch  him,  but  was  so  affected  by  his  appearance  and  language  that  he 
lost  his  courage  and  could  not  kill  him.  The  people  of  the  town  rose  in  his 
favor  and  furnished  him  a vessel  in  which  he  sailed  to  Africa,  meeting  with 
many  dangers  on  the  way.  He  landed  at  Carthage,  where  a message  was 
sent  him  by  the  Roman  praetor,  ordering  him  to  leave  the  country.  His 
answer,  as  represented  in  the  picture,  was,  “Tell  the  praetor  that  you  have 
seen  Caius  Marius  a fugitive  sitting  on  the  ruins  of  Carthage;”  a reply  which 
was  recorded  by  Plutarch  as  aptly  comparing  the  fate  of  that  city  with  his 
own  changed  fortunes. 

This  is  perhaps  the  only  example  of  his  paintings  in  this  country.  It 
is  a very  effective,  finely  drawn  and  attractive  historical  painting. 

From  the  Hunter  Sale  in  New  York,  1853. 

LELY  (Sir  Peter) — real  name,  Peter  Van  der  Faes. 

Born  at  Soest,  Westphalia,  1617. 

Portrait  painter,  Flemish  school. 

Appointed  Court  Painter  to  Charles  II. 

Died  in  London,  1680. 

“Through  the  influence  of  William,  Prince  of  Orange,  Lely  was  pre- 
sented to  Charles  I.,  whose  portrait  he  painted,  as  well  as  those  of  William 
and  the  Princess  Mary.  Thus  he  gained  great  reputation  and  encourage- 
ment, and  for  many  years  was  the  most  eminent  painter  in  England.  His 
works  are  characterized  by  a beautiful  and  permanent  coloring,  and  grace- 
ful attitudes.”  — Spooner's  History  of  the  Fine  Arts. 

“For  thirty  years  he  was  the  most  popular  portrait  painter  in  England, 
and  amassed  a large  fortune.  His  portraits  are  of  elegant  conception,  clear 
and  warm  coloring,  hands  especially  finely  drawn.” 

No.  206 — “Portrait  of  Hon.  Barbara  Yelverton.” 

30x24. 

Daughter  of  Sir  Henry  Yelverton,  a prominent  statesman  and  jurist. 
He  was  the  author  of  a work  entitled  “Special  Cases.”  A fine,  characteristic 
picture  by  this  great  portrait  painter. 

No.  207 — “Lady  Elizabeth  Percy/’ 

4554x36^2. 

The  following  is  inscribed  upon  the  painting  “Daughter  of  Jaceline, 
eleventh  Earl  of  Northumberland.  Married  first  to  Henry  Earl  of  Ogla, 
afterwards  to  Charles,  Duke  of  Somerset.” 


INDEX  AND  BIOGRAPHICAL  NOTES. 


137 


“Percy”  is  the  name  of  an  ancient  and  noble  English  family,  descended 
from  William  de  Percy,  who  lived  during  the  reign  of  “William  the  Con- 
queror” (1025-1087  A.  D.).  The  tenth  Earl  of  Northumberland,  Algernon 
Percy,  born  1602,  was  the  father  of  Jaceline,  and  was  high  Admiral  under 
Charles  I.  His  brother  Thomas  was  executed  in  1606  as  one  of  the  lead- 
ers in  the  notorious  “gunpowder  plot.”  The  present  Duke  of  Northumber- 
land is  Henry  George  Percy,  with  a family  of  five  living  sons,  and  the  same 
number  of  daughters.  This  portrait  of  Lady  Elizabeth  was  painted  at  about 
the  same  period  that  Sir  Peter  made  the  famous  portrait  of  King  Charles 
I,  or  possibly  a few  years  later.  This  was  Lady  Elizabeth’s  first  portrait, 
and  strangely  enough,  after  she  had  grown  to  womanhood,  and  was  the 
Duchess  of  Northumberland,  Sir  Peter  Lely  was*  again  engaged  to  paint 
her  portrait,  and  this  was  his  last  work,  as  he  died,  leaving  the  picture 
unfinished.  The  graceful  attitude  of  the  figure,  the  splendid  drawing,  and 
the  beautiful  coloring,  all  show  plainly  the  handiwork  of  the  great  Flemish 
master. 

For  a More  Extended  Biography  See  Catalogue  of  1912. 


LIEVENS  (Jan) 

Dutch  School. 

Born  at  Leyden,  Oct.  24,  1607. 

Died  at  Amsterdam;  buried  June  8,  1674. 

Student  of  Joris  Verschooten  and  Pieter  Lastman.  Afterwards  greatly  in- 
fluenced by  Rembrandt. 

Member  of  the  Guild  at  Antwerp,  Amsterdam  and  the  Hague. 

“In  1631  was  called  to  England,  where,  during  a residence  of  three  years, 
he  painted  the  Royal  family  and  many  persons  of  distinction.” 

— Cyclopedia  of  Painters  and  Paintings. 

“Before  he  was  eighteen  he  had  established  his  reputation  as  a portrait 
painter,  and  his  picture  of  ‘Students  Reading  at  a Peat  Fire’  opened  the  way 
to  him  in  1630  to  visit  England,  where  he  was  favorably  received  and 
painted  the  portraits  of  Charles  I.  and  his  queen,  with  several  of  the  nobility.” 

— Bryan’s  Dictionary  of  Painters  and  Paintings. 

“Lievens  was  the  fellow  pupil  of  Rembrandt  at  Lastman’s  and  the 
greatest  praise  that  can  be  bestowed  upon  his  work  is  that  some  of  them 
have  been  attributed  to  Rembrandt.  But  they  are  less  vigorously  painted, 
the  models  he  worked  from  were  different  and  some  of  his  portraits  ap- 
proach nearer  to  those  of  Van  Dyck.”  — Painters  and  Their  Works. 

No.  208 — “Dutch  Lady  with  Fan.’’ 

48^x37. 

From  the  collection  of  Sir  William  Cunliffe  Brooks. 

The  portrait  is  that  of  a Dutch  girl  about  eighteen  years  of  age,  with 
golden  brown  hair  hanging  in  ringlets  about  her  shapely  neck  and  shoulders. 
The  intelligent  face  with  its  regular  features  is  illumined  by  a subdued 
smile,  plainly  discernible  in  the  roguish  eye  and  at  the  corners  of  the  no  less 
roguish  mouth.  The  figure  is  clothed  in  a dark  green  gown  of  soft  material, 


138 


T.  B.  WALKER  COLLECTION,, 


elegantly  trimmed  around  the  low  cut  neck  and  short  sleeves  with  fine  hand- 
made lace.  In  the  right  hand  she  holds  a folding  fan,  while  the  left  hand 
hangs  idly  by  her  side.  As  she  leans  lightly  against  the  corner  of  a brown- 
stone  building,  the  wooded  gardens  can  be  seen  beyond.  A close  observer 
will  see  in  this  beautiful  portrait  not  only  the  influence  of  his  fellow  student 
Rembrandt,  but  also  a very  noticeable  approach  to  the  manner  of  Sir  An- 
thony Van  Dyck.  This  latter  is  especially  true  as  regards  his  flesh  tints  and 
the  elegantly  formed  hands. 


LORRAINE  (Claude).  (Claude  Gallee.) 

Born  at  Chamagne,  in  Lorraine,  in  1600. 

Died  in  Rome  in  1682. 

French  School;  landscape  painter;  real  name  was  Gellee. 

Studied  under  Agostino  Tassi  and  Godfrey  Waal. 

“From  morning  until  night  he  was  seen  in  the  fields  contemplating, 
with  an  attentive  eye,  the  effects  produced  by  the  sun  at  different  hours  of 
the  day,  and  the  vapory  veil  which  air  and  distance  throw  over  the  various 
objects  as  they  recede  from  the  sight. 

“His  landscapes  do  not,  like  those  of  the  Dutch  painters,  exhibit  cold 
portraiture  of  a prescribed  portion  of  a country;  he  soars  above  the  servile 
representation  of  ordinary  nature,  and  transports  his  spectators  into  the 
regions  of  poetry  and  enchantment.  In  this  point  of  view  Claude  will  ever 
be  regarded  as  the  first  of  landscape  painters;  and  it  will  not  be  disputed 
that  his  compositions  are  the  richest  and  most  studied  of  all  those  who  have 
excelled  in  that  branch  of  art. 

“He  presents  to  the  beholder  such  an  infinity  of  objects,  and  conveys 
him  over  such  a variety  of  hill  and  dale  and  misty  mountains,  that  the  eye 
may  be  said  to  be  constrained,  as  it  wanders,  to  repose  itself  on  the  way. 
The  superb  temples,  the  lofty  architecture,  with  which  he  embellished  his 
compositions;  his  ample  lakes,  peopled  with  aquatic  birds;  the  glittering  lus- 
ter of  his  skies;  the  diversity  of  his  foliage;  strictly  suited  to  each  plant  or 
tree;  every  object  is  stamped  with  the  genuine  feature  of  selected  nature.  In 
his  pictures  of  morning,  the  rising  sun  dissipates  the  dews,  and  the  fields  and 
verdure  brighten  at  the  approach  of  day;  his  evening  skies  expand  a glowing 
splendor  over  the  horizon;  vegetation,  oppressed  by  a sultry  aridity,  sinks 
under  the  burning  heat  of  the  sun. 

“His  marines  and  magnificent  seaports  contend  for  the  superiority  with 
his  inimitable  landscapes,  in  the  purity  and  freshness  of  the  air,  and  the 
gently  undulating  swell  of  the  water  sparkling  with  the  lucid  reflection  of  a 
clear  and  brilliant  sunshine. 

“The  pictures  of  Claude  bear  visible  evidence  that  they  are  the  result 
of  much  thought,  deliberation  and  cultivated  taste.  In  their  execution,  both 
patience  and  elaborate  care  are  equally  manifest.  His  best  works  are  paint- 
ed throughout  with  a full  body  of  color,  and  a liberal  use  of  ultra-marine. 
He  appears  to  have  commenced  his  operations  entirely  in  grey,  in  which  that 
valuable  color  is  freely  used;  so  that  when  the  super  colors  in  the  com- 
pletion of  the  work  are  applied,  the  silvery  hues  beneath  contribute  greatly 
to  the  atmospheric  effect,  which  constitutes  one  of  the  chief  charms  in  his 
pictures.  It  is  also  worthy  of  notice  that  the  same  careful  attention  to  de- 
tails is  as  observable  in  the  half  tones,  shadows,  and  distances  as  in  the 


INDEX  AND  BIOGRAPHICAL  NOTES. 


139 


more  prominent  and  luminous  parts.  Above  all,  the  high  quality  of  his 
genius  is  best  discovered  in  the  selecting  of  objects  of  the  most  pleasing 
forms,  tastefully  grouping  them  together,  so  as  to  produce,  by  the  various 
combinations,  a scene  replete  with  the  most  enchanting  beauties.” 

— Bryan's  Dictionary  of  Painters  and  Engravers. 

“He  searched  for  true  principles  by  the  incessant  examination  of  nature, 
usually  studying  in  the  open  fields,  where  he  frequently  continued  from  sun- 
rise till  the  dusk  of  the  evening,  sketching  whatever  he  thought  beautiful 
and  striking. 

“Every  curious  tinge  of  light  on  all  kinds  of  objects  he  marked  in  his 
sketches  with  a similar  color,  by  which  means  he  gave  his  landscapes  such 
an  appearance  of  nature  as  has  rarely  been  equaled  by  any  artist. 

“His  skies  are  warm  and  full  of  luster,  and  every  object  is  properly 
illumined.  His  distances  are  admirable,  and  in  every  part  a delightful  uni- 
formity and  harmony  never  fail  to  excite  admiration.  His  invention  is 
pleasing,  his  coloring  delicate,  his  tints  have  such  an  agreeable  sweetness 
and  variety  as  to  have  been  imperfectly  imitated  by  the  best  subsequent 
artists,  and  were  never  equaled. 

“His  pictures  are  scarce,  especially  such  as  are  undamaged,  and  they 
are  so  valued  that  no  price  is  thought  to  be  superior  to  their  merits.  There 
are  some  of  uncommon  excellence  in  this  country.” 

— Pilkington’s  Dictionary  of  Painters. 

“His  works  are  combinations  of  beautiful  objects  borrowed  from  the 
inexhaustible  source  of  nature,  enriched  by  art,  exhibited  under  the  most 
lovely  forms  and  alluring  media.  Sir  Joshua  Reynolds  says  in  his  Discourses, 
that  Claude  Lorraine  ‘was  convinced  that  taking  nature  as  he  found  it  sel- 
dom produced  beauty/  If  the  scene  represents  the  early  morning,  the  hemi- 
sphere is  suffused  with  light  and  warmth,  and  all  nature  visibly  feels  their 
influence;  the  mists  are  seen  dispersing,  and  the  cool  freshness  of  the  dawn 
of  day  is  yielding  to  the  absorbing  rays  of  the  sun;  the  soft  zephyrs  appear 
to  agitate  in  gentle  ripples  the  surface  of  lucid  streams  and  to  breathe  in 
whispers  among  the  foliage  of  the  surrounding  groves.  The  shepherd  is  seen 
leading  his  flocks  to  the  pastures,  or  Diana  with  her  attending  nymphs  is 
sallying  forth  to  the  chase.  Every  period  of  the  day,  with  all  its  elemental 
vicissitudes,  has  been  successfully  embodied  by  his  magic  pencil,  and  even  the 
gorgeous  splendor  of  a summer  evening,  with  all  its  dazzling  brightness,  was 
not  beyond  the  reach  of  his  master  hand.  His  pictures  are  enriched  with 
palaces,  temples,  and  other  noble  edifices;  and  the  ruins  of  ancient  mighty 
structures  are  so  appropriately  introduced  and  composed  with  so  much  skill 
and  taste,  that  it  is  easy  to  imagine  that  they  once  had  existence  at  some 
glorious  era  of  the  Greek  or  Roman  states. 

“This  illustration  is  still  further  heightened  by  the  introduction  of  some 
event  from  sacred  or  profane  history,  poetry,  or  romance,  which  accords 
with  the  style  of  the  buildings  and  the  scenes  depicted.  The  landscapes 
of  other  great  artists,  as  Gaspar  Poussin  and  Salvator  Rosa,  engage  little  of 
our  time  and  contemplation  to  run  over  the  scanty  confines  of  their  scen- 
ery, compared  with  the  august  and  boundless  expanse  of  Claude.  He  presents 
the  beholder  with  such  an  infinity  of  objects,  and  conveys  him  over  such  a 
‘variety  of  hill  and  dale  and  misty  mountains’  that  the  eye  seems  to  be  con- 
strained, as  it  wanders,  to  repose  on  the  way.  His  marines  and  magnificent 
seaports  contend  for  superiority  with  his  inimitable  landscapes,  in  the  purity 
and  freshness  of  the  atmosphere,  and  the  gentle,  undulating  swell  of  the 
water,  sparkling  with  the  reflection  of  a clear  and  brilliant  sunshine.” 

— Spooner's  History  of  the  Fine  Arts. 


140 


T.  B.  WALKER  COLLECTION. 


No.  209 — “Classic  Harbor  Scene.” 

41x52^. 

From  the  collection  of  the  Earl  of  Egremont. 

It  is  difficult  to  describe  a “Lorraine,”  as  nothing  short  of  seeing  and 
studying  his  harmony  of  colors  and  detail  can  convey  to  the  mind  anything 
like  an  idea  of  their  natural  beauty  and  artistic  value.  To  the  right  is  a 
castle  or  palace  built  partially  into  the  bay.  The  morning  sun  casts  his 
golden  glory  over  sea  and  sky,  bringing  to  view  in  the  shadows  of  the  stately 
trees  two  women  in  earnest  conversation.  The  emerald  waters  lazily  ripple 
on  the  shore,  fanned  by  a gentle  breeze  of  the  early  morning.  The  headlands 
are  seen  in  the  distance  and  some  boats  lie  almost  hidden  in  the  shadows 
of  the  castle  wall.  As  in  all  of  Gallee’s  work,  one  cannot  but  note  the  nat- 
uralness of  detail  and  the  harmony  of  color. 

Mr.  Pratt,  art  critic,  Alaska- Yukon-Pacific  Exposition,  Seattle,  1909, 
says:  “There  is  a beautiful  ‘Classic  Harbor  Scene/  by  Lorraine,  who  rivaled 
Turner  in  painting  the  luminosity  of  the  air.  His  landscapes  are  poetical.” 


No.  210 — “Classic  Landscape.” 

46^x58^. 

From  the  Lady  Cartwright  Collection. 

It  would  be  fitting  and  proper  to  apply  this  title  to  any  one  of  this  mas- 
ter’s later  pictures,  as  every  one  is  of  the  highest  class  of  art.  The  artist  has 
chosen  as  the  subject  of  this  characteristic  painting  a scene  in  his  own  sunny 
Italy.  At  the  foot  of  a precipitous  hill  on  the  left,  a road  passes  through  a 
massive  gateway  to  the  grounds  of  some  ancient  castle,  hid  from  view  by  the 
grove  of  great  elms  skirting  the  hill.  Some  trees  twisted  and  bent,  and  others 
prostrate  and  decayed,  have  fallen  before  the  fierce  winds  that  frequent  the 
valley,  while  the  majestic  trees  on  the  right  have  weathered  the  storms  of 
bygone  years,  and  still  spread  their  friendly  branches  far  out  over  the  beaten 
roadway  through  the  hills.  A weary  peasant  woman  and  her  child  are  resting 
by  the  roadside,  while  four  men  exchange  greetings,  and  others  wend  their 
way  toward  the  city  situated  in  the  foothills  far  beyond  the  fields  of  waving 
grain.  The  silvery  hues  of  his  atmosphere,  and  the  faultless  distribution  of 
lights  and  shadows,  have  probably  never  been  surpassed  even  by  Claude  him- 
self. 


No.  211 — “Sunset  in  an  Italian  Seaport.” 

67x38^. 

From  the  estate  of  Walter  Langdon. 

Purchased  by  him  in  London  in  1808. 

In  the  foreground  is  a group  of  emigrants  with  their  luggage;  upon  some 
planks  near-by  they  have  prepared  a meal  with  a goodly  supply  of  liquid  re- 
freshments. On  one  of  the  plates  will  be  seen  the  artist’s  name,  “Claude 
Gellee  Lorraine.”  Groups  of  sailors  from  the  vessels  in  the  harbor  are  con- 
versing with  their  friends,  while  others  are  busy  in  the  rigging  of  the  great 
vessel  on  the  left.  A number  of  imposing  buildings  on  the  right  have  a 


INDEX  AND  BIOGRAPHICAL  NOTES. 


141 


frontage  on  the  harbor  and  in  the  distance  is  the  Harbor  Light,  and  as  the 
shadows  deepen  many  sea  fowl  fly  shoreward  for  the  night.  Far  across  the 
expanse  of  water  the  sun  dips  low  in  the  west,  shedding  its  declining  glory  on 
the  few  fleecy  clouds  o’erhead. 

No.  212 — “Morning  in  Northern  Italy.” 

24x29. 

Beneath  the  spreading  branches  of  the  stately  trees,  the  spectator 
catches  a glimpse'  of  the  sun,  as  its  rays  break  through  the  hazy  atmosphere 
far  beyond  yon  lofty  mountain  peak.  Some  peasants  with  oxen  and  wagon 
are  hauling  for  fuel  the  dead  trunks  and  branches  of  fallen  trees.  Farther 
down  the  valley  all  but  hidden  by  the  deep  foliage,  and  clinging  vines,  stands 
the  sombre  ruins  of  the  ancient  parish  church  and  adjoining  parsonage. 
The  rock-strewn  landscape,  the  gnarled  and  broken  trees,  and  the  crumbling 
ruins  of  the  quaint  old  church,  are  but  mute  witnesses  of  an  earthquake, 
which  years  ago  devastated  the  whole  countryside.  The  painting  is  a very 
fair  example  of  what  may  be  considered  the  beginning  of  Claude’s  later 
and  best  period. 


LOSSOW  (Heinrich)  ----- 

Born  at  Munich,  1843. 


Bavaria 


Pupil  of  Munich  Academy,  and  of  Royal  Conservatory  at  Schlotheim. 
“Paints  rococo  scenes,  often  strongly  realistic.” 

— Cyclopedia  of  Painters  and  Paintings. 


I \ 

No.  213— “Love  Awake.” 

-27x22. 


A beautiful  brunette  is  teasing  and  coaxing  a little  Cupid,  who  is  resisting 
with  all  his  diminutive  strength.  The  warm,  glowing  flesh  tones,  and  the 
dark  drapery  of  the  couch,  are  both  rich  and  delicate. 


No.  214— “Love  Asleep.” 

27x22. 

Here  the  case  is  reversed.  It  is  the  little  god  of  love  who  is  pleading, 
and  a fair-haired  blonde  who  is  pushing  him  away,  deaf  to  his  coaxing,  blind 
to  his  caresses.  This  picture  is  lighter  in  tone  and  more  delicate  than  its 
mate. 

These  pictures  have  been  as  extensively  engraved  and  reproduced  in 
many  ways  as  the  “Angelus”  of  Millet. 


142 


T.  B.  WALKER  COLLECTION. 


LOUTHERBOURG  (Philippe  Jacques  de)  -----  Prussia 
Born  at  Fulda,  Hesse-Cassel,  1740. 

Died  at  Chiswick,  England,  1812. 

Landscape,  marine  and  battle  painter. 

Studied  in  Paris  in  1775,  under  F.  Casanova. 

Member  of  Academy,  1767. 

Settled  in  England,  1771. 

Member  Royal  Academy,  1781. 

Exhibited  155  works  in  Royal  Academy. 

“His  subjects  were  noble  and  grandly  treated,  and  he  deserved  the  repu- 
tation he  enjoyed.”  — Redgrave’s  Dictionary  of  Artists  of  the  English  School. 

No.  215 — “Ancient  Fortress  at  Cassell.” 

18x25. 

This  scene  undoubtedly  attracted  the  artist’s  attention,  not  alone  from  the 
picturesque  nature  of  the  locality,  but  was  enhanced  by  recollections  of  a 
memorable  spot  adjoining  his  boyhood’s  home.  It  represents  the  ancient 
fortress  on  the  summit  of  an  isolated  hill  at  Cassel,  which,  from  the  flatness  of 
the  adjacent  country  commands  an  extensive  view.  At  the  foot  of  the  hill 
and  in  the  foreground,  some  cattle  are  wandering  at  a pool.  A boy  and  girl 
are  watching  the  herd.  The  old  moss-covered  castle  and  parapet  on  the  hill- 
top looms  out  grandly  against  the  lowering  clouds,  while  the  verdure  is 
painted  with  marvelous  fidelity. 


LUINI  (Bernadino). 

Lombard-Milanese  School. 

Born  at  Luino  about  1475. 

Died  at  Milan  after  1533. 

Pupil  of  Civerchio  and  of  Leonardo  da  Vinci. 

“He  imitated  so  closely  (Leonardo  da  Vinci),  that  many  of  his  pictures 
pass  for  the  work  of  his  master.  His  faces  wear  the  Leonardesque  smile, 
though  it  has  not  the  same  depth  of  meaning,  and  his  manner  of  painting  is 
similar  to  that  of  Leonardo,  though  it  does  not  reach  that  almost  superhuman 
degree  of  finish  which  distinguishes  the  Giocondo  among  pictures.” 

— Cyclopedia  of  Painters  and  Paintings. 

“Luini’s  earliest  known  picture  is  “Pieta”  in  the  choir  of  the  Church  of 
St.  Maria  della  Passione  at  Milan,  which  was  painted  before  1510.  It  was  not 
until  after  that  date  that  he  imitated  Leonardo,  and  probably  at  least  ten 
years  elapsed  before  he  formed  an  independent  style  of  his  own.  As  was  to 
be  expected,  under  these  circumstances,  many  of  Luini’s  pictures  were  long 
attributed  to  Leonardo.”  — Painters  and  Their  Works. 

“He  was  a student  of  Stefano  Scotto,  but  in  the  middle  part  of  his  career 
he  became  a follower  of  Leonardo  da  Vinci.  His  early  works  bear  no  trace 
of  Leonardo’s  style,  and  his  late  productions  evince  much  originality,  with 
Leonardo’s  manner  for  a basis.  Milan  Saronno  and  Lugano  still  possess  his 


INDEX  AND  BIOGRAPHICAL  NOTES. 


143 


best  pictures  which  for  sweetness  and  depth  of  feeling  are  unrivalled.  To 
form  a just  idea  of  the  powers  of  Luini,  it  would  be  necessary  to  study  his 
series  of  pictures.  “The  Life  of  the  Virgin,”  at  Saronno,  in  which  the  virgin 
is  represented  with  a beauty,  dignity  and  modesty  which  resemble  the  works 
of  Raphael.  — Bryan's  Dictionary  of  Painters  and  Paintings. 

No.  216 — “Madonna  with  Two  Children.’’ 

25x18. 

From  the  Collection  of  Lord  and  Lady  Pelham  Clinton. 

Who  claimed  it  to  be  an  original  Raphael. 

Painted  on  a hardwood  panel  about  one  and  one-half  inches  thick,  and 
now  much  worm  eaten  and  somewhat  out  of  shape.  Mary  in  red  dress  and 
green  cape  covering  her  head  and  shoulders  is  holding  the  child  Jesus,  while 
John  the  Baptist  stands  almost  beneath  the  folds  of  the  Madonna’s  cape. 
The  children  are  about  two  or  three  years  of  age,  Jesus  being  entirely  nude, 
while  the  John  the  Baptist  is  clothed  in  skins  held  by  supports  over  the 
shoulders.  All  the  figures  are  well  formed  especially  that  of  the  child  Jesus. 
Except  for  one  or  two  peculiarities  of  this  master’s  work,  it  would  be  impos- 
sible to  discern  between  his  paintings  and  those  of  Raphael;  and  even  this 
example  while  in  the  collection  of  Lord  Clinton  was  often  mistaken  for  his 
great  master’s  work. 


MARATTI  (Carlo). 

Born  in  Camerano,  May  13,  1625. 

Died  in  Rome,  December  15,  1713. 

Roman  School;  best  and  favored  pupil  of  Andrea  Sacchi. 

“One  of  the  first  artists  of  his  time. 

“Most  popular  and  most  employed  artist  of  Rome.” 

— Spooner's  History  of  the  Fine  Arts. 

“The  most  admired  statues  of  the  ancients,  and  celebrated  paintings  of 
the  best  of  his  predecessors,  were  the  objects  of  his  perpetual  attention  and 
imitation,  till  he  had  made  himself  master  of  the  most  beautiful  forms  and 
graceful  attitudes  and  airs  of  heads.  Those  he  sketched  with  the  utmost 
facility,  and  conveyed  such  dignity,  beauty  and  elegance  to  his  own  composi- 
tions as  surpassed  the  works  of  all  his  contemporaries.  Maratti’s  manner 
of  designing  was  grand,  and  his  mode  of  thinking  and  composing  truly  noble 
as  well  as  judicious;  his  ordonnances  were  rich  and  magnificent,  and  his  ex- 
pression lively  and  affecting. 

“His  touch  is  lively  and  exquisite,  and  his  draperies  have  a noble  variety, 
being  managed  with  peculiar  art  and  judgment. 

“Maratti  received  the  honor  of  knighthood  ai  a public  testimony  of  his 
merit  and  he  has  been  more  respected  and  admired  than  any  of  the  modern 
painters.  While  he  was  alive  his  works  were  sold  at  prodigious  prices,  and 
they  still  retain  their  value  in  every  part  of  Europe.  They  are  in  the  greatest 
esteem  with  the  present  age  and  are  likely  to  be  equally  sought  after  by  pos- 
terity.” — Pilkington's  Dictionary  of  Painters. 


144 


T.  B.  WALKER  COLLECTION. 


No.  217 — “The  Annunciation.” 

13^x914. 

From  collection  of  Amelio  Burce,  Director  of  Gallery,  Florence,  Italy. 

“Joy  to  the  world,  the  Lord  is  come.”  Mary  kneeling  while  a messenger 
from  Heaven  is  represented  as  presenting  to  the  world  by  her  the  “Son  of 
Righteousness,”  while  the  angels  sing  the  glad  song,  “Peace  upon  earth,  and 
good  will  toward  men.”  The  colors  are  pleasing  and  the  subject  well  chosen. 


No.  218 — “The  Wise  Men  and  the  Infant  Jesus.” 

14^x11^. 

“Now,  when  Jesus  was  born  in  Bethlehem  of  Judea,  in  the  days  of  Herod 
the  King,  behold  wise  men  from  the  east  came  to  Jerusalem.” 

Within  a lowly  stable  in  Bethlehem,  Mary  sits  holding  the  infant  Jesus, 
while  the  wise  men  of  the  east  and  the  shepherds  are  gathered  around  her, 
offering  precious  gifts  to  the  child. 

The  light  of  Divine  Love  is  represented  as  shining  from  above,  bring- 
ing to  view  the  modest  surroundings,  and  the  forms  and  figures  of  those  who 
have  come  to  offer  homage.  The  figures  are  finely  proportioned  and  nat- 
ural. and  the  colors  fine  and  pleasing. 


MARILHAT  (Prosper)  - --  --  --  --  France 

Born  at  Vertaizon,  near  Thiers  (Puy-de-Dome),  1811. 

Died  there,  1847. 

Landscape  painter;  pupil  of  Roqueplan. 

“Recommended  by  his  master  as  the  artistic  companion  of  Baron  Hugel, 
he  visited  the  Levant  in  1831  and  spent  a number  of  years  in  Cairo,  where 
the  climate  so  ruined  his  health  that  he  did  not  long  enjoy  the  fame  which 
awaited  him  on  his  return  to  Paris.  He  left  more  than  two  hundred  un- 
finished pictures.”  — Cyclopedia  of  Painters  and  Paintings. 


No.  219— “The  Prophet’s  Tomb.” 

9^x13^. 

Supposed  to  be  the  tomb  of  Abou  Mansour,  a distinguished  astronomer, 
born  at  Mecca  in  855  A.  D.  He  lived  at  the  court  of  the  caliph,  A1  Mamoon, 
at  Bagdad,  and  committed  to  his  superintendence,  the  building  of  two  observ- 
atories. The  time  of  his  death  is  unknown.  An  interesting  subject  treated 
in  a masterly  manner. 


MAX  (Gabriel). 


Born  at  Prague,  1840. 


Pupil  of  Blaas,  Kurzbauer  and  Piloty. 

“Whenever  his  name  is  mentioned  by  the  writers  upon  German  art  of 


INDEX  AND  BIOGRAPHICAL  NOTES. 


145 


today,  his  power  and  originality  are  admitted  and  admired.  Many  of  his 
works  are  tragic  in  the  extreme.” 

— Clement  & Hutton’s  “Artists  of  the  Nineteenth  Century  .” 

“When  we  come  to  Gabriel  Max,  we  find  a genius,  to  the  analysis  of 
whose  masterly  conceptions  we  should  much  prefer  devoting  a chapter  instead 
of  a .few  meager  paragraphs.  In  respect  of  mental  grasp  and  imagination, 
combined  with  technical  ability,  we  should  give  this  first  place  in  the  con- 
temporary Munich  school  to  Max  and  Bocklin.  Artists  and  public  are  alike 
agreed  upon  the  surpassing  character  of  Max’s  works.” 

— .S'.  G.  Benjamin,  “Contemporary  Art  in  Europe.” 

“First  exhibited  in  1867  and  has  since  acquired  a steadily  increasing 
fame.  Honorary  member  of  Munich  Academy,  Professor  in  1879-83.  Gold 
medals  in  Berlin  and  Munich.”  — Cyclopedia  of  Painters  and  Paintings. 

In  a recent  work  published  in  1897,  called  “The  Madonna  in  Art,”  giving 
illustrations  of  thirty-one  of  the  great  Madonnas  painted  from  the  earliest 
ages  to  the  present  time,  there  are  given  of  modern  paintings  one  by  Gabriel 
Max  and  one  by  Bouguereau.  The  one  by  Max  is  spoken  of  as  follows: 

“Take,  for  instance,  the  portrait  Madonnas  by  Gabriel  Max.  Here  are 
no  details  to  divert  the  attention  from  motherhood,  pure  and  simple.  We  do 
not  ask  of  the  subject  whether  she  is  of  high  or  low  estate,  a queen  or  a 
peasant.  We  have  only  to  look  into  her  earnest,  loving  face  to  read  that 
here  is  a mother.  When  weary  with  the  senseless  repetitions  of  the  set  com- 
positions of  past  ages,  we  turn  with  relief  to  a simple  portrait  mother  like  this, 
at  once  the  most  primitive  and  the  most  advanced  form  of  Madonna  art. 
It  is  only  another  case  where  the  simplest  is  the  best.” 


No.  220 — “The  Treasures  of  Home.” 

31x24. 

Represents  a mother  and  child.  One  of  the  most  refined,  beautiful  and 
harmonious  and  softly  toned  pictures  that  has  been  produced  by  this  master 
of  the  German  school.  One  of  the  best,  if  not  the  best,  of  his  paintings. 


MAZZUOLI  (Francesco). 

Surnamed  II  Parmigiano  (The  Parmasan). 

Born  at  Parma,  January  11,  1503. 

Died  at  Casale  Maggiore,  August  24,  1540. 

Student  of  his  Uncle  Michele  and  Pier  Llario  Mazzuola. 

“His  style  formed  on  that  of  Correggio  and  Raphael,  is  characterized 
by  exceeding  grace  and  delicacy  of  form,  and  softness  of  coloring.  * * * 

Mazzuola  was  the  first  Italian  artist  who  engraved  with  aquafortis.” 

• — Lippencott’s  Biographical  Dictionary. 

“His  early  pictures  show  how  carefully  he  had  studied  Correggio’s 
works  before  going  in  1822  to  Rome  where  study  of  its  great  masters  pro- 
foundly affected  his  manner.  He  had  won  such  reputation  there  before  1527, 
when  the  sack  of  the  city  interrupted  his  career  that  the  soul  of  Raphael 
was  said  to  have  passed  into  him. 


■ — Cyclopedia  of  Painters  and  Paintings. 


146 


T.  B.  WALKER  COLLECTION. 


No.  221 — “Portrait  of  II  Parmigiano.” 

37x28. 

From  the  Collection  of  the  Duke  of  Sutherland. 

On  the  back  of  the  canvas  is  inscribed  “Lileshall  Catalogue  No.  12, 
Portrait  of  Parmigiano,  Francesco  Mazzuoli,  called  II  Parmigiano,  born  at 
Parma  1503.  Died  at  Casale  Maggiore,  aged  37.  Parmigiano  37x28".  The 
half-length  portrait  shows  the  artist  seated  with  right  arm  resting  on  a table 
on  which  is  a money  bag,  several  pieces  of  money,  etc.  In  the  left  hand  he 
holds  a heavily  bound  book.  Immediately  back  of  the  figure  is  a group  of 
statuary  (a  Roman  soldier  embracing  a female  figure). 

The  artist  is  clad  in  a dark  coat  with  fur  collar,  and  over  his  long- 
flowing  hair  is  a cap  much  worn  by  artists  in  those  days.  The  dignified 
pose  and  the  classic  features  indicate  a person  of  a high  order  of  intelli- 
gence, while  the  hands  are  a two-fold  proof  that  the  portrait  is  that  of  the 
great  Parmasan,  as  we  see  in  the  picture  just  such  hands  as  one  would  ex- 
pect to  produce  the  wonderful  hands  of  the  portrait.  The  painting,  both  in 
color  and  drawing,  shows  unmistakable  proof  of  the  influence  of  Raphael. 


MEADOWS,  J.  ------  - English 

Exhibited  Altogether  43  Pictures  at  the  Royal  Academy  Between  1854  and 

1863. 

Painter  of  Sea  Scenes. 

No.  222 — “Fisherman’s  Village — Hoisting  the  Storm  Signal.” 

29x49. 

Near  the  point  of  a narrow  peninsula  a colony  of  fisherfolk  have  grouped 
their  cottages  into  a quaint  little  hamlet.  On  the  sea  front  they  have  con- 
structed a strong  wharf,  which  also  serves  the  purpose  of  lookout,  and  sig- 
nal station.  On  this  particular  day,  great  white  capped  clouds  have  hung 
low  across  the  western  horizon,  and  now  of  a sudden  the  sun  is  obscured, 
an  ominous  light  steals  over  the  sea,  engulfing  the  little  village  in  its 
phantom  shroud.  With  telescope  in  hand,  the  trained  old  seaman,  accom- 
panied by  several  anxious  wives,  hasten  to  the  wharf.  One  hurried  look  is 
sufficient,  and  just  as  the  increasing  wind  begins  to  lap  the  sea  into  waves, 
the  storm  signal  is  hoisted.  As  the  sullen  rumble  of  the  approaching  storm 
increases,  a shout  goes  rapidly  from  boat  to  boat,  “pull  for  the  shore.”  A 
number  of  crews,  anticipating  the  danger,  are  already  beaching  their  boats, 
others  hurriedly  pull  in  their  nets,  while  a number,  under  full  sail,  are  seen 
far  in  the  offing. 


MENESES  (Osorio  Francisco). 

Commonly  called  Osorio. 

Spanish  school;  born  at  Seville,  1630.  Died  there  1705. 

Pupil  of  Murillo. 

“He  was  president  of  the  Seville  Academy  for  which  he  painted  a ‘Con- 
ception.’ In  the  church  of  St.  Martin,  at  Madrid  is  an  ‘Elijah.’  ” 

— Painters  and  Engravers. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


147 


“Painted  the  glory  in  the  ‘Marriage  of  St.  Catherine/  which  cost  Murillo 
his  life,  and  also  the  four  lateral  pictures.  Some  works  ascribed  to  his  master 
(Murillo)  were  probably  executed  by  him.  He  was  a member  of  the  Academy 
of  Seville  from  1666  to  1673,  and  its  Majordomo  in  1668-9.” 

— Cyclopedia  of  Painters  and  Paintings. 


No.  223 — “Ossorio’s  Madonna.” 

16x13. 

This  beautiful  painting  owing  to  its  elegance  in  tone  and  finish  has  often 
been  mistaken  for  the  work  of  Murillo.  The  picture  is  that  of  a beautiful 
young  woman  in  the  attitude  of  prayer,  with  a profusion  of  golden  brown 
hair  hanging  loosely  over  the  shoulders.  The  loose  fitting  dress  is  of  some 
soft  white  material  with  low  neck  and  banded  sleeves.  The  heavy  blue  scarf 
thrown  lightly  over  the  shoulder  is  held  in  place  by  the  half  clasped  hands. 
One  of  Osorio’s  most  wonderful  compositions  colored  and  toned  in  this  mas- 
ter’s incomparable  manner. 


No.  224 — “The  Assumption  of  the  Virgin.” 

25x14. 

It  is  assumed  by  both  the  Greek  and  Roman  Catholic  Churches  that  the 
Virgin  Mary  ascended  into  heaven  much  after  the  manner  of  the  ascension 
of  Christ  as  recorded  in  the  first  chapter  of  the  Acts  of  the  Apostles.  Osorio 
represents  her  as  a beautiful  young  woman  clad  in  flowing  garments  of  spot- 
less white,  triumphantly  ascending,  accompanied  by  a host  of  cherub  angels, 
while  a cloud  seems  ready  to  receive  her  out  of  sight.  The  figures  show  the 
hand  of  a master  in  their  composition  and  the  work  of  a superb  colorist  in 
tone  and  finish.  The  painting  as  a whole  bears  a close  resemblance  to  kindred 
subjects  by  his  renowned  master  Murillo. 


No.  225— “It  Is  Finished.” 

27x15. 

“When  Jesus  therefore  had  received  the  vinegar,  he  said,  ‘It  is  finished!’ 
and  he  bowed  his  head  and  gave  up  the  ghost.’  Only  a few  moments  before, 
Jesus  when  he  saw  his  mother  and  his  beloved  disciple  standing  by,  had 
said,  ‘Woman  behold  thy  son,’  and  to  the  disciple,  ‘Behold  thy  mother. 
Mary  in  deepest  anguish  embraces  the  foot  of  the  cross,  while  the  beloved 
disciple,  John,  stands  gazing  at  the  silent  form  upon  the  cross  in  an  attitude 
of  abject  despair;  believing  no  doubt  that  this  was  the  finish  indeed,  ‘for  as 
yet  they  knew  not  the  scripture,  that  he  must  rise  again  from  the  dead.’  On 
the  top  of  the  cross  are  the  letters  I.  N.  R.  I.,  which  interpreted  read,  ‘The 
King  of  the  Jews.’  Besides  being  well  drawn,  and  finely  executed,  the  paint- 
ing is  a powerful  sermon  without  words,  a mute  reminder  of  the  brother- 
hood of  man,  and  the  fatherhood  of  God.” 


148 


T.  B.  WALKER  COLLECTION. 


MEULEN  (Adam  Frans  Van  der). 

Flemish  School. 

Born  in  Brussells,  Jan.  11,  1632. 

Died  in  Paris,  Oct.  15,  1690  (Possibly  after  1693). 

Genre,  Landscape  and  Battle  Painter. 

Pupil  of  Peter  Snayers. 

Member  of  the  Academy  of  Painting,  1673. 

Counsellor,  1681.  First  Counsellor,  1686. 

Court  painter  to  Louis  XIV. 

“Court  painter  to  Louis  XIV.,  was  lodged  at  Gobelins,  had  a pension  of 
6,000  livres,  and  accompanied  the  king  to  Flanders  to  paint  his  battles.” 

— Cyclopedia  of  Painters  and  Paintings. 

Some  of  his  first  productions  found  their  way  to  Paris,  and  possessed 
sufficient  merit  jto  attract  the  attention  of  Charles  Le  Brun,  at  that  time  the 
arbiter  of  taste  in  the  French  metropolis.  As  the  great  aim  of  every  one  about 
the  court  was  to  flatter  the  ambition  of  Louis  XIV.  Le  Brun  recommended 
Van  der  Meulen  to  Colbert  as  a likely  person  to  fitly  commemorate  the  mili- 
tary achievements  of  the  monarch.  The  minister  agreed.  Van  der  Meulen 
was  invited  to  Paris,  was  pensioned  by  the  king,  and  granted  apartments  at 
the  Gobelins.  * * * He  painted  the  principal  battles  and  sieges  of  Flan- 
ders for  the  Chateau  of  Marley.  * * * The  king  heaped  riches  upon  him, 
and  Le  Brun,  his  constant  friend,  gave  him  his  niece  in  marriage.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“Van  der  Meulen  drew  figures,  and  especially  horses  with  great  spirit,  and 
his  coloring  in  the  pictures  he  painted  in  France,  is  brilliant,  the  blue  of  the 
sky  and  the  green  of  the  landscape  being  sufficiently  vivid  to  balance  the 
bright  colors  of  the  uniforms.  * * * He  often  finished  up  the  faces  in 

battles  and  huntings,  so  as  to  make  them  portraits.” 

— Painters  and  Their  Works. 


No.  226 — “Meeting  of  the  Duke  of  Lorraine  and  Marshal  Turenne, 
an  Incident  of  the  Thirty  Years  War. 

32x47^2. 

From  the  collection  of  Lord  Buckland. 

The  Duke  of  Lorraine  (Charles  IV.)  was  the  son  of  Francois  Comte  de 
Vandemont;  was  born  in  1604,  and  succeeded  his  uncle  Henry  in  1624.  In 
the  thirty  years’  war  which  began  1618  and  ended  in  1648,  Charles  fought  for 
the  German  Empire,  and  as  an  ally  of  Spain,  fought  against  the  French  in 
several  ensuing  campaigns.  He  died  in  1675. 

Marshal  Turenne,  or  Viscomte  Tour  d’Auvergne,  was  the  son  of  Henri 
Due  de  Bouillon,  and  was  born  at  Sedan,  Sept.  11,  1611.  His  mother  was 
Elizabeth,  a daughter  of  William  the  Silent,  Prince  of  Orange.  For  five  years, 
1625-30,  he  fought  against  the  Spaniards.  In  1630  he  returned  to  France,  and 
as  Marechal  de  Camp,  fought  in  Flanders,  and  in  1640  took  part  in  the  cap- 
ture of  Turin.  He  was  raised  to  the  rank  of  marshal  in  1643.  The  Duke  of 
Lorraine  had  been  driven  out  by  the  French,  and  compelled  to  resign  the 


INDEX  AND  BIOGRAPHICAL  NOTES. 


149 


duchy  January  19.  1643.  By  the  treaty  of  the  Pyrenees  (1659),  he  was  rein- 
stated under  very  hard  conditions,  but  broke  again  with  Louis  XIV,  and  was 
expelled  once  more.  This  meeting  of  the  marshall  and  the  duke,  it  is  be- 
lieved, was  arranged  by  the  Duke  of  Lorraine,  for  the  purpose  of  making 
terms  with  Turenne,  whereby  the  duchy  should  be  restored  to  the  duke.  He 
failed,  it  seems,  to  gain  his  point  with  Turenne,  as  he  was  not  restored  until 
a number  of  years  later  (1659).  The  figures,  as  well  as  the  landscape,  are 
well  drawn,  and  the  colorings  are  bright  and  spirited. 


MIGNARD  (Pierre). 

Born  at  Troyes,  1610. 

Died  in  Paris,  May  30,  1695. 

“French  school  of  portrait  and  allegorical  painters.  Pupil  of  Jean  Bou- 
cher at  Bourges,  Vouet  in  Paris,  also  under  Pierre  Gentil,  the  sculptor.  He 
was  patronized  by  Urban  VIII,  and  by  his  successors  to  Alexander  VII, 
whose  portrait  he  painted,  and  distinguished  himself  in  that  branch,  as  well 
as  in  historical  subjects.  His  works  lay  claim  to  our  approbation,  by  a cor- 
rect design,  a captivating  amiability  in  his  forms,  and  an  harmonious,  if  not 
vigorous,  effect  in  his  coloring.  Several  of  his  pictures  have  been  engraved 
by  some  of  the  most  celebrated  of  the  French  burinists,  among  which  are 
Gerard,  Audran,  Poilly,  Roullet,  Manteuil,  etc.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“His  pictures,  in  the  graceful,  dignified  style  of  Raffaelle,  were  greatly 
admired  at  Rome.  He  acquired  a distinguished  reputation  in  that  city  and 
found  abundant  employment.  He  also  distinguished  himself  as  a portrait 
painter  and  was  patronized  by  the  Popes  and  many  of  the  nobility.  He  ex- 
ecuted many  works  for  the  churches.  He  was  invited  back  to  Paris  by  Louis 
XIV,  and,  on  his  way,  passing  through  Tuscany,  Modena  and  Parma,  he 
was  honored  by  the  princes  of  those  cities,  whose  portraits  he  painted.  Louis 
sat  to  him  ten  times  for  his  portrait,  and  had  such  a respect  for  his  talents 
that  he  ennobled  him.  After  the  death  of  Le  Brun  he  appointed  him  his  prin- 
cipal painter.”  — Spooner’s  History  of  the  Fine  Arts. 

“He  painted  the  portraits  of  Urban  VIII,  and  of  Alexander  VII,  and 
many  other  works,  including  frescoes  in  churches.  In  1658  he  was  recalled 
by  the  king  to  Fontainebleau,  where  he  became  the  rival  of  Le  Brun,  to  whose 
honors  he  succeeded.  He  was  court  painter,  the  director  of  the  Gobelins,  and 
was  elected  on  the  same  day  member,  rector,  chancellor,  and  directory  of  the 
Academy.”  — Cyclopedia  of  Painters  and  Paintings. 

“The  chief  portrait  painters  of  the  period  of  Louis  XIV  were  Mignard, 
who  was  also  a distinguished  painter  of  fresco,  Rigaud,  Largilliere,  and  Fran- 
cois de  Troy.  The  name  of  Mignard,  rendered  famous  by  Le  Brun’s  rival 
and  successor,  Pierre,  is  also  illustrated  by  an  older  brother,  Nicholas.  We 
must  believe  history,  which  assigns  to  him  a distinguished  talent,  as  well  as 
the  abundant  evidence  of  the  works  he  has  left.  He  was  born  a painter. 
He  is  one  of  the  large  number  of  conspicuous  artists  from  the  studio  of 
Vouet.  But,  in  spite  of  such  difficult  competition,  Mignard’s  won  him  repu- 
tation. He  proceeded  to  other  cities  of  Italy,  was  welcomed  with  honors 
by  artists  and  rulers,  and,  returning  to  Rome,  painted  Pope  Alexander  VII. 
But,  like  Vouet,  he  was  recalled  to  France  by  the  king,  at  the  instigation  of 
Mazarin,  and,  leaving  his  wife  and  newly-born  son  at  Rome,  he  set  out  Oct. 


150 


T.  B.  WALKER  COLLECTION. 


10,  1657.  He  was  received  in  the  prominent  towns  of  France  with  great 
honor;  at  Marseilles  by  the  First  Consul  of  the  city,  at  Aix  by  the  President 
of  the  Parliament,  at  Avignon  everybody  aided  Mignard  ‘de  Avignon’  to  do 
the  honor  to  Mignard  ‘Le  Romain.’  ” — History  of  French  Painting. 


No.  22 7 — “Jean  Baptiste  Racine.” 

28x22. 

A distinguished  French  dramatist;  born  at  La  Ferte,  Milan,  1639;  died 
at  Paris,  1699.  His  first  tragedy,  the  Thebaide  or  Les  Freres  Eunemis,  was 
performed  by  Moliere’s  troupe  at  the  Palais-Royale  in  1664.  His  first  master- 
piece was  Andromaque,  which  on  its  performance  in  1667,  produced  a pro- 
found impression.  After  writing  eight  or  ten  successful  pieces,  he  retired 
from  the  theater  in  1677,  owing  to  chagrin  at  hostile  critics.  However,  in 
1689  and  in  1691,  he  wrote  Esther  and  Athalie.  As  a dramatist,  Racine  is 
considered  the  model  of  French  classical  tragic  drama. 


MICHEL  (Georges). 

French  School. 

Born  in  Paris  about  1763. 

Died  there  in  1843. 

Student  of  Leduc  in  Paris. 

“At  one  time  he  was  the  painting  companion  of  Louis  Braundet;  at  an- 
other he  was  living  in  the  house  of  a noble  amateur  whose  pictures  he  fin- 
ished. His  favorite  subject  was  the  great  plain  which  stretches  from  Mont- 
martre out  to  the  north  of  St.  Denis.  * * * The  following  two  pictures 
are  to  be  seen  in  the  new  gallery  at  Luxembourg”: 

“Aux  Environs  de  Montmartre.” 

“Interieur  de  Foret.”  — Bryan’s  Dictionary  of  Painters  and  Paintings. 


No.  228 — “Fisherman’s  Hamlet  and  the  Old  Mill.” 

13x24. 

Formerly  of  the  A.  T.  Stewart  Collection. 

Later  from  the  Collection  of  Judge  Hilton. 

A quaint  old  Dutch  mill  occupies  a place  of  vantage  on  a low  promontory 
near  the  bay.  A smaller  mill  and  the  roofs  of  numerous  fishermen’s  huts  are 
barely  visible  along  the  coast  beyond.  Several  vessels  lie  at  anchor,  while  a 
number  are  seen  plying  their  trade  in  the  offing.  One  boat  has  been  pulled 
far  ashore,  near  by  which  two  women  seem  discussing  the  latest  village  gossip, 
while  the  men  farther  away  make  a landing  with  their  nets.  The  lowering  sky 
and  dark  threatening  clouds  are  warnings  to  the  experienced  seamen  to  keep 
close  to  shore  until  more  propitious  weather.  A most  splendid  example  of 
this  eccentric  painter’s  best  work. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


151 


MICHELANGELO  (Buonarrotti). 

Born  in  the  Castle  of  Caprese  in  Tuscany,  March  6,  1472. 

Died  in  Rome,  February  18,  1564. 

Studied  under  Domenico  Ghirlandaio  and  at  the  Academy  in  the 
Gardens  of  St.  Mark. 

Lorenzo  de  Medici  became  his  patron  and  gave  the  artist  a home  at  the 
Medici  Palace,  where  he  did  much  work. 

“In  the  early  part  of  his  life,  he  not  only  applied  to  sculpture  and  paint- 
ing but  to  every  branch  of  knowledge  connected  with  the  arts.  As  a 
painter,  sculptor  or  architect,  he  attempted,  and  above  any  other  man,  suc- 
ceeded, to  unite  magnificence  of  plan  and  endless  variety  of  subordinate  parts, 
with  the  utmost  simplicity  and  breadth.  His  line  is  uniformly  grand;  char- 
acter and  beauty  were  admitted  only  so  far  as  they  could  be  made  subservient 
to  grandeur. 

“A  beggar  rose  from  his  hand  the  patriarch  of  poverty;  the  hump  of  his 
dwarf  is  impressed  with  dignity;  his  women  are  moulds  of  generation;  his 
infants  teem  with  the  man;  his  men  are  a race  of  giants.  * * * He  is  the 

inventor  of  epic  painting  in  the  sublime  compartments  of  the  Sistine  Chapel. 
He  has  personified  motion  in  the  groups  of  the  Cartoons  at  Pisa,  embodied 
sentiments  on  the  monuments  of  St.  Lorenzo,  unravelled  the  features  of  medi- 
tation in  his  prophets  and  sibyls;  and  in  the  ‘Last  Judgment’,  with  every 
attitude  that  varies  the  human  body,  traced  the  master-trait  of  every  passion 
that  sways  the  human  heart.  Such  was  Michel  Angelo,  the  salt  of  art.’ 

— Pilkington’s  Dictionary  of  Painters. 

“He  has  contributed  more  to  the  grandeur  of  design  so  essential  to  both 
painting  and  sculpture,  than  any  artist  that  has  ever  existed.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

No.  229 — “The  Deluge/’ 

14x21. 

From  the  collection  of  Lord  St.  Helens.  Painted  on  vellum  and  with  an  old 
oak  panel  for  a stretcher. 

This  picture  represents  a very  strange  but  appropriate  view  or  idea  of  the 
deluge,  with  the  waters  everywhere  rising  up  on  the  earth  and  driving  the 
inhabitants  onto  the  higher  grounds  and  thence  into  the  trees  to  escape  from 
the  rising  floods. 

The  drawing  and  designing  are  characteristic,  interesting  and  finely 
drawn.  It  is  not  intended  for  a finished  picture. 

" Michel  Angelo  was  justly  rated  as  in  general  a poor  colorist,  but  the 
greatest  of  all  designers.  This  picture  shows  fine  drawing  and  composition 
and  is  interesting  and  attractive  as  a composition  and  idea  of  the  greatest  of 
all  the  sculptors  and  designers  of  the  world. 

MIEREVELT  (Michael  Janszen  Van). 

Dutch  School. 

Born  at  Delft,  May  1,  1567.  Died  there,  July  27,  1641. 

Portrait  Painter. 

Pupil  of  William  Willemsz  and  Augustyn.  Member  of  the  Guild  at  the 

Hague,  1625. 

“Son  of  a goldsmith  who  perceiving  his  disposition  for  drawing,  placed 


152 


T.  B.  WALKER  COLLECTION. 


him  under  the  care  of  Jerome  Wierix  with  the  intention  of  his  becoming  an 
engraver.  When  he  was  twelve  years  of  age,  he  executed  a plate  of  “Christ 
and  the  Woman  of  Samaria,”  and  soon  afterwards  another  of  “Judith  with  the 
Head  of  Holofernes.”  He  learned  the  art  of  painting  under  William  Willemsz 
and  Augustyn,  then  under  Anthony  Van  Montfoort  at  Utrecht.  Having 
painted  the  portraits  of  some  of  the  princes  of  the  house  of  Nassau,  they 
were  so  universally  admired  that  he  afterwards  met  with  continuous  employ- 
ment in  that  branch  and  as  he  lived  to  an  advanced  age,  he  is  supposed  to 
have  painted  a greater  number  of  portraits  than  any  other  artist  of  his 
country.”  — Bryan’s  Dictionary  of  Painters  and  Paintings. 

“Mierevelt’s  portraits  are  remarkably  well  drawn  and  the  heads  full  of 
character.  They  are  somewhat  of  the  same  class  as  those  by  Cornelius 
Jansen,  but  Mierevelt  did  not  finish  the  dress  and  ruffs  so  highly  and  in 
general  they  are  plain  and  without  lace;  they  are  also  painted  with  a heavier 
touch.”  — Painters  and  Their  Works. 

No.  230 — “Gustavus  Adolphus.” 

(King  of  Sweden.) 

24x20. 

From  collection  of  General  Lytton  Bulwer,  former  Ambassador  to  France. 

Gustavus  II.  was  born  in  Stockholm  in  1594.  He  gained  in  his  youth,  a 
complete  knowledge  of  Latin,  German,  Dutch,  French  and  Italian,  speaking 
each  language  as  fluently  as  a native,  besides  having  a fair  understanding  of 
the  Russian  and  the  Polish.  His  father,  when  Adolphus  was  but  ten  years  of 
age,  introduced  him  into  the  affairs  of  government  and  required  his  presence 
at  meetings  of  the  council  and  audiences  with  foreign  ambassadors.  His 
father  dying  in  1611,  he  ascended  the  throne  when  only  eighteen  years  of  age, 
and  at  once  applied  himself  to  bettering  the  financial  condition  of  the  nation, 
and  in  quieting  the  universal  discontent  and  especially  that  of  the  nobles. 
In  1630,  after  several  successful  wars,  Gustavus,  at  the  head  of  an  army  of 
about  15,000  men,  determined  to  take  part  in  the  Thirty  Years’  War  which 
had  been  raging  in  various  parts  of  Europe  since  1618.  In  the  following  year 
(1631),  he  shattered  the  supremacy  of  Austria  and  was  hailed  as  the  liberator 
of  Protestantism.  This  opposition,  however,  being  reinforced  by  Wallenstein, 
the  fortunes  of  war  were  against  him  until  the  battle  of  Lutzen,  near  Leipsic, 
in  November,  1632.  In  this  terrible  battle,  Gustavus  Adolphus  was  killed,  but 
his  little  army  drove  Wallenstein  and  his  forces  into  Bavaria,  thus  winning  a 
decisive  victory.  Gustavus  Adolphus  is  justly  regarded  as  one  of  the  greatest 
and  noblest  figures  in  all  the  world  history,  and  had  his  life  been  spared  to 
continue  the  heroic  campaign,  the  Thirty  Years’  War  would  have  been  known 
to  history  as  only  the  Fifteen  Years’  War,  and  Germany  saved  from  the 
barbarism  which  reduced  her  to  a wilderness,  and  flung  her  back  a century  in 
the  march  of  civilization.  This  splendid  portrait,  it  is  believed,  was  painted 
at  Stockholm  about  1625. 

MILLET  (Jean  Francois). 

Born  at  Gruchy,  near  Cherbourg,  Oct.  14,  1814. 

Died  at  Barbizon,  January  20,  1875. 

French  Painter. 

Pupil  of  Langlois  and  Delaroche. 

First  class  medal  Paris  Universal  Exposition  1867. 

Decoration  of  the  Legion  of  Honor,  same  year. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


153 


“His  parents  were  Norman  peasants  who  industriously  cultivated  a small 
farm.  Amid  these  rustic  surroundings,  he  received  a simple  yet  sound  educa- 
tion from  his  grandmother,  and  his  great  uncle,  a priest,  without  cure  of 
souls,  who  both  lived  under  the  family  roof.  A taste  for  art  early  developed 
itself  in  him,  and  his  first  systematic  instruction  was  received  from  Langlois 
at  Cherbourg  where  he  was  sent  in  1832.  His  progress  was  such  that  he  was 
granted  a small  pension  by  the  Municipal  Council  to  enable  him  to  pursue 
his  studies  in  Paris.  Thither  he  went  in  1837  and  entered  the  studio  of 
Delaroche  where  Diaz  and  Rosseau  were  among  his  fellow  pupils.  His  first 
appearance  at  the  Salon  was  in  1840  when  he  exhibited  a portrait.  * * * 

He  wavered  sometimes  between  historical  and  peasant  figure  painting.  The 
appearance  of  “The  Winnower”  in  1848  and  “The  Sower”  in  1850  showed 
his  true  vocation,  and  henceforth  he  adhered  strictly  to  subjects  taken  from 
peasant  life.  In  1849  he  removed  from  Paris  to  Barbizon,  a village  in  the 
beautiful  Fontainebleau  country,  with  which  his  name  became  inseparably 
connected.  * * * Since  his  death,  his  works  have  fetched  enormous  prices, 

but  his  widow  and  family  were  left  comparatively  poor  and  were  granted  a 
pension  of  1200  francs  by  the  state.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“This  painter  whose  works  have,  since  his  death,  been  bought  at  very 
high  prices,  was  one  of  a family  of  nine  children,  and  it  is  said  that  as  a boy, 
he  looked  after  cattle,  and  followed  the  plough.  In  after  life,  when  he  had 
become  the  head  of  a school  known  as  that  of  Barbizon,  he  often  spoke  of 
himself  as  a Norman  peasant.  * * * He  had  to  struggle  with  poverty  in 

Paris,  and  lived  and  died  poor,  although  such  well  known  critics  as  Edmond 
About  and  Theophile  Gautier  bestowed  the  highest  praises  on  “The  Gleaners” 
in  their  notes  on  the  Salon  of  1857.  The  former  said  of  it  ‘All  is  calm,  the 
drawing  without  a fault,  and  the  color  without  a glitter.’  The  latter,  ‘He 
(Millet)  understands  the  inward  poetry  of  the  fields,  he  loves  the  peasants 
whom  he  represents  and  in  their  resigned  figures  expresses  his  sympathy  with 
them.  * * * Owing  to  the  care  he  bestowed  upon  their  execution,  Millet 
is  said  to  have  produced  only  eighty  pictures.”  — Painters  and  Their  Works. 


No.  231 — “The  Church  at  Greville.” 

2224x28*4. 

This  old  church  at  Greville  is  the  church  wherein  Millet  was  baptized. 
A close  examination  will  show  that  it  has  been  painted  with  the  greatest 
artistic  care,  even  to  grains  of  sand  deftly  put  upon  the  canvas  with  the  brush. 
After  finishing  the  painting,  it  remained  in  the  possession  of  the  great  painter 
until  his  death,  or  immediately  preceding  that  event,  when  it  became  the 
property  of  a Mr.  Anderson,  of  Paris,  who  was  associated  with  Cyrus  Field  in 
laying  the  Atlantic  cable.  After  the  death  of  Mr.  Anderson,  his  widow 
brought  the  painting  to  America.  Mr.  Millet’s  son,  while  visiting  in  this 
country,  hunted  up  the  painting  and  was  much  moved  upon  beholding  it. 
He  told  Mrs.  Anderson  that  his  father  had  always  valued  this  picture  very 
highly,  not  alone  for  the  pleasant  recollections  it  afforded,  but  he  considered 
it  one  of  his  best  efforts,  especially  in  the  magnificence  of  his  cloud  and  sky. 


154 


T.  B.  WALKER  COLLECTION. 


MINOR  (Robert  C.) 


New  York 


Born  in  New  York,  1840. 

. >•  ? « ft.f  ft y ■ *3  / r & / 

Studied  in  Paris  under  Diaz  and  in  Antwerp  under  Van  Luppen, 
Boulanger  and  others. 

Member  of  the  Society  of  American  Artists. 


“Robert  C.  Minor’s  landscapes  are  always  as  interesting  as  they  are 
characteristic.  They  are  strongly  impressed  with  the  sentiment  of  the  place 
and  the  hour  they  represent.”  — Boston  Transcript,  March,  1878. 


No.  232 — “Twilight’s  Witching  Hour.” 

16x20. 

On  a low  brushy  hill  to  the  right,  a peasant  woman  with  red  shoulder 
shawl,  stands  looking  over  the  field  of  ripening  grain,  lying  within  the  shad- 
ows of  the  distant  woods,  and  stretching  away  toward  the  line  of  the  hills 
until  lost  to  view  in  the  deepening  twilight.  Painted  much  after  the  manner 
of  Diaz  and  Rousseau. 

The  sun’s  slanting  rays  as  they  seem  to  unfold, 

Tint  the  clouds  and  the  sky  and  the  hilltops  with  gold; 

Then  gradually  fading  away  for  the  night, 

Leave  the  world  bathed  in  mellow  twilight. 


MORAN  (Edward) 


JO 


Born  in  England/ 1829. 


New  York 


Came  to  America 


1844. 


tot  9 * J f & J 


Member  of  the  Royal  Academy  of  London,  1862. 
Returned  to  the  United  States,  1869. 

Elected  A.  N.  A.,  1873. 

Member  of  the  Pennsylvania  Academy  and  of  the 
Royal  Academy,  London. 


No.  233 — “A  Squall  on  the  English  Channel.” 

24x36^. 

Angry  storm  clouds  still  cast  a pall  of  darkness  o’er  the  distant  hills, 
where  the  coast  line  is  dimly  visible  through  the  shadowy  gloom.  The  waters 
of  the  channel  are  lashed  to  madness,  alternately  moaning  and  roaring  like 
fighting  demons.  A number  of  ships  and  smaller  craft  have  been  caught  by 
the  sudden  squall,  and  are  being  tossed  as  chaff  by  the  furious  waves. 
Through  rifts  in  the  clouds*,  fields  of  blue  sky  appear,  and  the  sun  peeps  out 
tinting  the  clouds  to  gold,  while  a thousand  shades  of  color  play  hide-and- 
seek  in  the  surging  waters  of  the  mighty  deep.  The  perspective  and  the 
atmosphere  are  wonderfully  fine,  but  the  penciling  and  toning  of  the  waves 
are  remarkably  natural  and  pleasing. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


155 


MORAN  (Thomas) N.  A.,  New  York 

Born  at  Bolton,  Lancashire,  England, ^ 1837. 

Brought  to  America,  1844. 

Brother  of  Edward  and  Peter  Moran. 

Returned  to  Europe  1862  and  1866,  and  studied  the  works  of  Turner 
and  the  old  masters. 

Elected  N.  A.,  1884. 

Member  of  Society  of  American  Artists. 


After  a careful  study  of  this  canvas  since  being  hung  in  this  collection, 
the  artist  pronounced  it  the  very  best  of  all  his  Venetian  scenes.  On  the 
left,  immediately  back  of  a group  of  fine  residences,  with  their  beautiful 
gardens,  stand  the  palatial  churches,  their  white  domes  dimly  visible  in  the 
soft  pink  light  of  the  late  afternoon.  Farther  on  in  every  direction  are 
visible  roofs,  domes  and  steeples  of  many  other  important  buildings,  the 
most  prominent  of  which  is  the  magnificent  Palace  of  the  Doges  (Governors), 
with  its  delicately  tinted  walls  and  its  stately  square  tower.  As  the  sun’s 
rays  decline,  and  the  soft  breezes  are  wafted  in  from  the  sea,  gayly  attired 
pleasure  seekers  throng  the  numerous  gondolas  and  glide  down  the  Grand 
Canal  to  the  soft  strains  of  the  gondolier’s  song,  and  the  sweet  tones  of  the 
mellow  guitar.  The  soft  blush  of  the  sky,  the  many  beautiful  and  well- 
arranged  colors,  and  the  elegant  reflection  in  the  crystal  waters  of  the  canal, 
are  so  real  and  pleasing  as  to  carry  the  mind  away  in  fancy  to  this  historic 
city  “The  Queen  of  the  Sea.” 


The  grand  old  ocean.  The  rising  sun  casting  its  mellow  light  across 
the  vast  expanse  shows  no  sail  in  sight,  only  the  boundless  ocean  in  all  her 
overpowering  grandeur  and  loneliness.  In  the  center  of  the  picture  is  seen 
the  “trough  of  the  sea,”  while  on  the  left  the  great  waves  are  breaking  into 
fleecy  foam.  The  sunlight  glory  in  the  clouds  adds  additional  enchantment 
to  this  beautiful  canvas,  in  all  making  this  one  of  the  best  maritime  pictures 
in  the  world. 


MONTICELLI  (Adolphe),  Deceased  - - - - - - Paris 

Born  at  Marseilles,  1824. 

Pupil  of  Rossi  and  of  Diaz. 

Large  sums  of  money  have  been  paid  for  fine  specimens  from  this  artist’s 
brush.  Both  in  this  country  and  on  the  continent,  connoisseurs  have  come 
to  appreciate  Monticelli  as  a great  colorist. 


HI. 


n 


29x49. 

Obtained  from  the  artist,  one  of  his  finest  paintings. 


No.  235 — ^ p H ±h p ■ ” 

30x42. 


156 


T.  B.  WALKER  COLLECTION. 


No.  236 — “The  Bridal  Procession.” 

19x24^2. 

How  richly  fantastic  are  the  colors  of  this  artist.  A bridal  procession  is 
passing  under  the  arched  entrance  to  the  church.  The  stone  of  the  edifice, 
the  liveries  of  the  attendants — all  but  the  dresses  of  the  bride  and  her  maid, 
are  dark.  The  bridegroom  can  scarcely  be  discerned  in  the  shadows  by  the 
archway. 


MORLAND  (George). 

Born  in  his  father’s  house  in  the  Haymarket,  London,  June  26,  1763. 

Died  in  Eyre  Street  Hill,  London,  October  29,  1804. 

Student  of  his  father,  Henry  Robert  Morland. 

“Perhaps  the  most  flattering  opinion  of  the  works  of  George  Morland  is 
that  of  a French  critic  who  says  that  his  pictures  are  remarkable  for  a clever 
distribution  of  light  and  shade,  that  the  drawing  is  correct  and  that  they  are 
well  finished  and  admirably  represent  nature.”  — Painters  and  Their  Works . 

“In  1799,  he  removed  to  the  Isle  of  Wight,  where  Mr.  Lynn,  a surgeon 
of  Westminster,  generously  placed  at  the  service  of  himself  and  his  wife  a 
picturesque  cottage  near  Cowes.  Then  began  that  series  of  painting  of  coast 
scenes,  fishermen  and  smugglers  of  which  so  many  engravings  after  Morland 
remind  us.  The  cottage  in  which  he  painted  was  filled  from  morning  till 
night  with  sailors,  fishermen  and  smugglers.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

(About  1790.)  “He  moved  to  a house  in  Winchester  row,  Paddington, 
in  the  garden  of  which  he  kept  all  sorts  of  animals;  foxes,  goats,  pigs,  dogs, 
monkeys,  squirrels,  guinea  pigs,  and  dormice,  besides  a donkey  and  an  old 
horse  which  frequently  appears  in  his  pictures.” 

- — Bryan’s  Dictionary  of  Painters  and  Engravers. 

“One  of  the  first  paintings  which  he  executed  of  that  distinctly  ‘Morland 
Style’  which  he  alone  represents  in  British  art  was  ‘Gypsies  Kindling  a Fire/ 
for  which  Colonel  Stuart  gave  him  forty  guineas  in  1790,  the  commencement 
of  his  best  period  as  an  artist.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 


No.  237 — “Shipwrecked.” 

1054x17#. 

The  scene  is  of  a terrible  storm  and  high  seas  on  the  rugged  coast  of 
the  Isle  of  Wight,  where  practically  all  his  coast  scenes  were  painted  about 
1799.  A small  sailing  vessel  has  been  driven  upon  the  rocks  by  the  furious 
wind  and  has  sunk  from  sight  in  the  maddened,  rolling  sea.  Five  sailors 
have  succeeded  in  reaching  the  rugged  shore  and  are  endeavoring  to  pull  in 
the  broken  mast  laden  with  two  of  their  unfortunate  comrades.  The  sea 
gulls  scream  defiance  to  the  raging  storm,  amid  the  din  of  thunder  and  the 
roar  of  the  angry  waves.  As  a consequence  of  Morland’s  unfortunate  asso- 
ciations, most  of  his  painting  up  to  this  time  were  of  subjects  of  a low  char- 
acter. But  in  these  paintings  on  the  Isle  of  Wight,  he  reaches  a higher 


INDEX  AND  BIOGRAPHICAL  NOTES. 


157 


sphere,  and  seemed  touched  with  grandeur  and  nobler  thoughts,  showing 
clearly  what  he  might  have  been  with  different  associates  and  environments — 
a painter  of  the  very  first  rank. 


MURILLO  (Bartholome  Esteban). 

Born  in  Seville,  January  1,  1618. 

Died  there,  April  3,  1682. 

Spanish  School.  Studied  under  Juan  del  Castillo. 

“The  fertility  of  his  talent,  only  paralleled  by  that  of  Lope  de  Vega  in 
literature,  enabled  him  to  cover  the  walls  of  private  and  public  buildings  at 
Seville  with  the  pictures  now  scattered  all  over  Europe  at  prices  which,  to 
the  artist,  would  have  seemed  fabulous.” 

— Cyclopedia  of  Painters  and  Paintings. 

“Few  painters  have  a juster  claim  to  originality  of  style  than  Murillo,  and 
his  works  show  an  incontestable  proof  of  the  perfection  to  which  the 
Spanish  School  attained,  and  the  real  character  of  its  artists — for  he  was 
never  out  of  his  native  country,  and  could  have  borrowed  little  from  foreign 
artists;  and  this  originality  placed  him  in  the  first  rank  among  the  painters 
of  every  school.  All  his  works  are  distinguished  by  a close  and  lively  imi- 
tation of  nature.  His  pictures  of  the  Virgin,  Saints,  Magdalenes,  and  even 
of  the  Savior,  are  stamped  with  a characteristic  expression  of  the  eye,  and 
have  a natural  peculiarity  of  countenance  and  habiliments  which  are  very 
remarkable.  There  is  little  of  the  academy  discernible  in  his  designs  or  his 
composition.  It  is  a chaste  and  faithful  representation  of  what  he  saw  or 
conceived;  truth  and  simplicity  are  never  lost  sight  of;  his  coloring  is  clear, 
tender  and  harmonious,  and  though  it  possesses  the  truth  of  Titian  and  the 
sweetness  of  VanDyck,  it  has  nothing  of  the  appearance  of  imitation.  His 
works  now  command  enormous  prices.” 

— Spooner’s  History  of  the  Fine  Arts. 

“With  the  work  of  this  admirable  artist,  the  English  collector  is  more 
intimately  acquainted  than  with  those  of  any  painter  of  the  Spanish  School; 
and  their  intrinsic  merit  amply  justifies  the  admiration  which  is  bestowed 
on  them.”  — Bryan’s  Dictionary  of  Painters  and  Engravers. 


No.  238 — “Archbishop  Ambrozeo  Ignatio  Spirrola.,> 

35^x25. 

From  the  collection  of  the  Duke  of  Sutherland. 

Believed  to  have  been  a son  of  Marquis  Ambrosio  Spinola,  the  celebrated 
Spanish  military  commander,  who  was  born  at  Genoa  in  1569,  and  died  in 
1630,  who  became  renowned  in  the  Dutch  wars  in  the  Netherlands  and 
Flanders,  and  afterwards  in  the  war  against  France  and  Italy. 

At  the  bottom  of  the  canvas  is  this  inscription  in  Latin:  “Died  on  the 

14th  day  of  May,  1684,  in  his  52nd  year.  The  very  illustrious  and  most 
reverend  doctor  of  divinity  Ambrosius  Ignatius  Spinola  and  Guzman,  Spanish 
Archbishop  in  the  year  of  our  Lord  1670,  in  the  38th  year  of  his  life.”  This 
would  indicate  that  Spinola  was  born  in  1632  and  was  38  years  old  when 


158 


T.  B.  WALKER  COLLECTION. 


created  Archbishop.  As  Murillo  died  in  1682,  it  is  evident  that  this  inscrip- 
tion was  added  later,  probably  soon  after  the  death  of  Spinola. 

Murillo  painted  but  few  portraits,  but  in  this  we  see  the  same  clear  colors 
and  careful  design  so  characteristic  of  his  great  religious  paintings. 

No.  239 — “The  Coronation.” 

52x39. 

From  the  Lord  Townsend  Collection. 

The  Virgin  Mary,  robed  in  spotless  white,  with  a blue  mantle  thrown 
over  her  shoulders,  is  represented  as  rising  above  the  serpentine  devil  and 
his  angels,  while  an  angel  of  God  places  upon  her  head  a crown  of  twelve 
stars,  and  cherubs  bring  garlands  of  flowers  and  shout  with  joy.  The  serpent 
still  holds  in  his  mouth  the  apple  with  which  he  had  tempted  “the  first  man 
Adam/’  and  with  which  he  tempted  the  son  of  this  woman,  “the  second  man 
Adam,  who  became  a living  spirit”  after  his  forty  days’  fast.  Here,  how- 
ever, his  subtlety  failed  and  one  was  found  “who,  being  tempted  in  like 
manner  as  we,  yet  sinned  not.”  The  horn  in  prophecy  represents  Power,  and 
the  great  horn  in  the  lower  corner  of  the  painting  no  doubt  is  emblematic  of 
the  p^wer  of  Satan  which  Jesus  destroyed.  In  this  wonderful  painting 
Murillo  represents  faithfully  what  his  fertile  mind  conceived,  and  has  given 
to  his  figures,  truth  and  simplicity;  and  although  his  coloring  is  modest,  yet 
it  is  clear,  tender  and  harmonious. 


No.  240— “The  Nativity.” 

24x35. 

From  the  collection  of  Marquis  Alexandro  Tetade,  Seville,  Spain. 

Upon  the  occasion  of  the  taxing  of  the  people,  first  instituted  when 
Cyrenius  was  governor  of  Syria,  Joseph  with  Mary  was  obliged  to  return 
to  his  own  city,  Bethlehem,  to  be  taxed.  There  was  such  a multitude  in  the 
little  city  upon  this  memorable  occasion  that  “There  was  no  room  for  them 
in  the  inn.”  so  they  were  obliged  to  seek  shelter  in’  a stable.  “And  there 
were  in  the  same  country  shepherds  abiding  in  the  field,  keeping  watch  over 
their  flock  at  night.  And  lo!  the  Angel  of  the  Lord  came  upon  them,  and 
the  glory  of  the  Lord  shone  round  about  them,  and  they  were  sore  afraid. 
And  the  angel  said  unto  them,  Fear  not,  for  behold  I bring  you  good  tidings 
of  great  joy  which  shall  be  to  all  the  people.  For  unto  you  is  born  this  day 

in  the  City  of  David,  a Saviour,  which  is  Christ  the  Lord.  * * * And 

suddenly  there  was  with  the  Angel  a multitude  of  the  heavenly  host  praising 
God,  and  saying:  Glory  to  God  in  the  highest,  and  peace  on  earth,  good 
will  toward  men.  (Luke  11:7-10.)  The  painting  is  a most  vivid  portrayal 
of  Luke’s  testimony  by  a master  whose  originality  was  only  surpassed  by  his 
faithful  representation,  and  the  exquisite  sweetness  of  his  coloring.  This 
most  important  event  occurred,  no  doubt,  in  what,  in  our  calendar,  would  be 
the  month  of  April  or  possibly  May,  when  the  weather  was  sufficiently  mild 
to  permit  the  shepherds  to  abide  in  the  fields  at  night,  and  at  a time  when 

there  was  green  pasturage  for  the  sheep,  and  when  the  weather  in  the  bleak 

country  about  Bethlehem  would  be  sufficiently  mild  to  allow  the  event  here 


INDEX  AND  BIOGRAPHICAL  NOTES. 


159 


so  truthfully  painted  to  occur  in  a stable,  without  injury  to  mother  and  child. 
Murillo  has  faithfully  and  truthfully  followed  the  text  regardless  of  the  gen- 
erally accepted  theory  that  Jesus  was  born  December  25th  of  our  calendar, 
and  thus  truthfulness  and  faithful  representation  was  one  of  the  great  secrets 
of  his  wonderful  success  and  popularity. 


No.  241 — “Madonna  of  the  Lily.” 

36^x27. 

The  Madonna  attired  in  deep  brown  robes  stands  erect,  with  upturned 
eyes  as  if  in  supplication.  The  right  hand  is  pressed  upon  the  breast,  while 
with  the  left  she  holds  a spray  of  white  lilies.  A pale  blue  scarf  orna- 
mented by  a spray  of  purple  roses  is  thrown  lightly  over  the  head  falling  in 
graceful  folds  about  the  upturned  face  and  shapely  neck.  The  heads  of 
three  cherub  angels  peep  through  the  clouds  in  the  immediate  background, 
which  may  indicate  the  ascension  (assumption)  of  the  Virgin.  While  the 
colors  in  this  example  are  not  so  clear  and  harmonious  as  in  his  later 
works,  yet  the  composition  and  drawing  follow  closely  his  last  and  greatest 
period. 


MYTENS  (Daniel). 

Dutch  portrait  painter,  was  born  at  the  Hague  (at  the  end  of  the  !6th 
century).  Died  after  1658. 

He  belonged  to  the  Dutch  school,  probably  studying  in  the  school  of 
Rubens,  as  he  imitated  that  master  in  his  portraits  and  in  his  backgrounds. 
He  went  to  England  during  the  latter  part  of  the  reign  of  King  James.  His 
work  was  greatly  admired  and,  though  he  drew  several  of  the  court,  he  was 
not  formally  employed  as  painter  to  the  King  until  the  first  3'ear  ot  the  reign 
of  King  Charles.  His  patent  was  dated  the  30th  of  May,  1625.  Sometime 
after  the  arrival  of  Vandyck  at  the  Court  of  King  Charles,  he  returned  to 
the  Hague. 

“He  had  studied  the  works  of  Rubens  previous  to  his  coming  to  England. 
His  landscape  in  the  backgrounds  of  his  portraits  is  evidently  in  the  style  of 
that  school,  and  some  of  his  works  have  been  taken  for  Vandyck’s. 

“He  painted  beautiful  copies  of  Raphael’s  cartoons.  His  works  show 
great  simplicity  of  manner,  lightness  of  color,  and  silvery  flesh  tones.” 

— Cyclopedia  of  Painters  and  Paintings. 


No.  242 — “Henrietta  Marie,  Queen  of  Charles  I.” 

35x30. 

From  the  collection  of  General  Bulwer. 

The  flesh  tints  in  this  beautiful  picture  are  true  and  lifelike.  Form  and 
features  are  reproduced  in  finest  perfection,  attained  only  by  the  greatest  of 
the  portrait  painters.  And  in  the  costume  the  artist  has  a magnificence  of 
color  seldom  seen  on  canvas.  This  is  one  of  the  most  beautiful  and  charac- 
teristic of  this  noted  artist’s  works. 


160 


T.  B.  WALKER  COLLECTION. 


No.  243— “King  Charles  I.” 

46x34. 

From  the  Collection  of  General  Bulwer. 

This  picture  was  painted  about  the  time  at  which  Queen  Henrietta  Maria 
was  painted  as  described  above.  The  coloring  is  very  fine,  natural  and 
satisfactory.  His  portraits  of  men  were  colored  as  appropriately  as  the 
refined  and  more  delicate  coloring  which  he  gave  to  his  portraits  of  women. 

This  pair  of  portraits  represents  a most  interesting,  celebrated  and  noted 
couple  of  prominent  people  of  past  history.  In  some  respects  King  Charles 
stood  out  as  prominently  before  the  world  with  as  tragic  a life  as  to  make  a 
couple  who  jointly  formed  as  interesting  a pair  as  any  king  and  queen  in 
history.  And  we  can  rely  upon  these  two  as  being  as  favorable  and  correct 
a representation  of  their  true  appearance  and  character  as  any  historical 
portraits  known. 


NEER  (Aart  Van  Der). 

Born  at  Gorinchem,  Holland,  about  1603. 

Died  at  Amsterdam,  November  9th,  1677. 

“Removed  to  Amsterdam  before  1638.  Married  Elizabeth  Govers. 
* * * Scarcely  anything  is  known  of  his  life.  He  excelled  in  moonlight 

views,  generally  of  towns  or  groups  of  cottages,  or  fishermen’s  huts  on  the 
banks  of  a river  or  canal  with  boats  and  figures.  He  is  said  to  have  painted 
some  two  hundred  of  these  without  a single  repetition.  He  occasionally 
painted  sunsets  and  often  winter  pieces  with  figures  amusing  themselves  on 
the  ice,  in  which  he  is  scarcely  surpassed.  His  best  pictures  have  a trans- 
parency of  color,  a lightness  of  hand,  a general  freshness  and  sincerity  and 
a mastery  of  composition  which  give  them  a very  high  rank  in  the  Dutch 
School.”  — Bryan’s  Dictionary  of  Painters  and  Engravers. 

“Was  a friend  of  Cuyp,  who  occasionally  supplied  the  figures  in  his  land- 
scapes, and  an  admirable  painter  of  moonlight  and  twilight  scenes.  He  repre- 
sented for  the  most  part  canals  with  towns  on  their  banks,  lighted  by  the 
moon,  and  no  other  painter  has  depicted  the  lights  and  shadows  incident  to 
such  scenes  with  so  much  truthfulness  and  clearness.” 

— Cyclopedia  of  Painters  and  Paintings. 


No.  244 — “Canal  Scene  in  Holland,  Evening.” 

20^x28 14- 

In  the  foreground,  some  fishermen  have  landed  with  their  catch  and  have 
their  net  stretched  for  drying  while  they  prepare  to  load  their  fish  in  the 
boat.  Many  other  boats  are  seen  along  the  canal;  some  tied  up  for  the  night, 
others  just  returning  from  their  daily  tasks.  On  the  left  is  the  fishermen’s 
cottages,  surrounding  the  quaint  old  mill,  while  to  the  right  on  a wooded 
shore  stands  the  rustic  church  and  pastorage.  The  full  silver  moon  peeps  out 
through  a rift  in  the  clouds,  throwing  a weird  light  over  the  surrounding 
landscape.  A splendid  example  of  Neer’s  somber  style. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


161 


NICHOLSON  (G.  W.). 

American  School. 

No.  245 — “A  Squally  Summer  Morning.” 

23x38. 

The  low  sandy  beach  of  an  inland  lake  is  partially  o’ergrown  with  coarse 
grass  and  wild  flowers.  On  the  margin  of  a small  grassy  knoll,  two  women 
are  seated  conversing  with  a man  on  horseback,  while  beyond  them,  we  get 
a view  of  a part  of  the  lake  with  several  larger  sailboats  and  many  pleasure 
craft  sailing  over  its  blue  waters.  A tribe  of  wandering  gypsies  are  encamped 
at  the  deserted  building  under  the  shelter  of  the  grove  of  green  trees,  which 
all  but  hide  from  view  the  palatial  residence  situated  on  the  promontory 
above.  A summer  squall  seems  about  to  break  over  the  lake,  the  boisterous 
clouds  cast  a pall  over  the  distant  hills  and  the  pigeons  hover  in  the  air 
near  to  shelter  and  safety.  The  landscape  is  well  drawn  and  the  atmosphere 
and  the  clouds  are  remarkably  true  to  nature. 

" ° ' ; 

OERTEL  (Johannes  A.). 

American  School. 

Studio  at  Morgantown,  N.  C. 


No.  246 — “The  Easter  Tidings.” 

18x13. 

“After  the  Sabbath  was  past,  very  early  on  the  first  day  of  the  week,” 
Mary  Magdalene,  Joanna,  and  Mary  the  mother  of  James,  came  to  the 
sepulchre  which  had  held  the  body  of  Jesus.  As  they  approach,  they  find  the 
great  stone  rolled  away,  and  hear  in  astonishment  the  voice  of  the  angels 
coming  from  the  interior  of  the  tomb.  “Why  seek  ye  the  living  among  the 
dead.  He  is  not  here,  but  is  risen.” 

The  word  Easter  occurs  but  once  in  the  Bible  (Acts  XII-4),  and  is 
here  translated  from  the  Hebrew  word  meaning  the  passover,  and  as  the  first 
passover  in  Egypt  was  marked  by  the  death  of  the  first-born,  even  so  in  this 
last  passover,  the  first  born,  yea,  the  only  begotten  of  God,  had  seen  death. 
But  now  comes  the  glad  tidings  of  great  joy.  “He  is  risen  indeed,”  ringing 
down  through  the  ages  its  message  of  hope  and  gladness  unto  untold  genera- 
tions. 

The  figures  are  finely  drawn,  and  modestly,  though  remarkably  well 
painted. 


OPIE  (John). 

Born,  1761.  Died,  1807. 

“The  works  of  Opie  are  distinguished  by  great  simplicity  in  the  compo- 
sition, masterly  boldness  of  effect,  and  uncommon  strength  of  character, 
though  sometimes  defective  in  dignity,  and  faithful  expression  of  individual 


162 


T.  B.  WALKER  COLLECTION. 


nature.  His  best  works  possess,  in  an  eminent  degree,  what  artists  term 
breadth.  Few  painters  have  shown  so  perfect  an  eye  to  the  purity  of  color, 
and  in  some  of  his  works  he  appears  to  have  emulated  the  rich  and  har- 
monious tones  of  Rembrandt  and  Titian;  and  even  Fuseli  says  that  nature 
had  endowed  him  with  an  exquisite  eye  for  color,  and  pronounces  his  color- 
ing in  the  ‘Murder  of  James  I.’  unrivalled  among  the  productions  of  his 
contemporaries  and  approaching  the  excellence  of  Titian.  His  conduct  of  the 
chiarc-scuro  was  intelligent  and  masterly.” 

— Spooner’s  History  of  the  Fine  Arts. 

“The  pictures  he  painted  on  these  occasions  were  amongst  the  most 
admired  productions  of  the  British  school.  The  works  of  Mr.  Opie  are  dis- 
tinguished by  a simplicity  in  the  composition,  masterly  boldness  of  effect, 
uncommon  strength,  though  not  dignity  of  character,  and  a faithful  expres- 
sion of  individual  nature.  Few  painters  have  shown  so  perfect  an  eye  to 
the  purity  of  color;  and  in  some  of  his  works  he  appears  to  have  emulated 
the  harmonious  toning  of  Rembrandt  and  Titian.  His  conduct  of  the  chiaro- 
scuro is  masterly  and  intelligent.  He  demonstrated  by  his  works  how  highly 
he  was  endowed  by  nature  with  a strength  of  judgment  and  originality  of 
conception.  His  thoughts  were  always  new  and  striking,  as  they  were  the 
genuine  offspring  of  his  own  mind;  and  it  is  difficult  to  say  if  his  conversa- 
tion gave  more  amusement  or  instruction.  The  toils  and  difficulties  of  his 
profession  were  by  him  considered  a matter  of  honorable  and  delightful 
contest;  and  it  might  be  said  of  him,  that  he  did  not  so  much  paint  to  live 
as  live  to  paint.”  — Bryan’s  Dictionary  of  Painters  and  Engravers. 

“His  best  work  was  in  portraiture.  He  became  an  A.  R.  A.  in  1787  and 
R.  A.  in  1788;  in  1805  he  was  chosen  professor  of  painting  in  the  Royal 
Academy.”  — Cyclopedia  of  Painters  and  Paintings. 

“Untaught,  he  gained  proficiency  in  portrait  painting.  Not  being  cir- 
cumscribed in  talent,  he  gained  great  success  in  various  branches;  and  Boydell’s 
Shakespeare,  Macklin’s  Poets,  and  Bowyer’s  edition  of  Hume  soon  afforded 
ample  scope  for  Opie’s  abilities,  who  produced  upon  these  occasions  some 
of  his  best  specimens  of  the  English  school.  His  best  pictures  possess  great 
expansions,  his  coloring  is  chaste  and  his  chiaro-scuro  perspicuous.” 

— Pilkington’s  Dictionary  of  Painters. 

“‘The  Cornish  Wonder’  grew  rich  and  fashionable,  studied  diligently, 
became  professor  at  the  Academy,  wonderfully  improved  his  portraits,  and 
extended  his  ambition  to  high  art,  where  his  best  effort  is  ‘The  Assassination 
of  Rizzio.’  To  him  belongs  that  often-quoted  anecdote  of  the  painter  who, 
when  asked  with  what  he  mixed  his  colors,  replied,  ‘With  brains,  sir.’  ” 

— Radcliife’s  Schools  and  Masters  of  Painting . 

“As  an  artist,  his  works  prove  his  great  genius  and  original  powers. 
Later  his  compositions  were  more  simple,  his  light  and  shade  better  under- 
stood, and  his  works  have  a vigorous  and  manly  strength  which  contrasts 
with  the  feeble  inanities  of  many  of  his  contemporaries.” 

— Redgrave’s  Dictionary  of  Artists  of  the  English  School. 


No.  247 — “Portrait  of  a Gypsy  Girl.” 

33x25. 

From  the  sale  of  a fine  collection  of  Robinson  & Fisher’s,  of  London. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


163 


PARMENTIER  (Jacques)  called  James. 

French  School. 

Born  in  Paris,  1658;  died  in  London,  Dec.  2d,  1730. 

History  and  Portrait  Painter.  Student  of  his  uncle  Sebastian  Bourdon. 

“On  the  death  of  Bourdon  he  went  to  England  in  1676  and  was  for 
some  time  employed  by  Charles  de  la  Fosse  to  assist  him  in  the  works  upon 
which  he  was  engaged  at  Montague  House.  King  William  sent  Parmentier 
to  Holland  to  ornament  his  palace  at  Loo,  but  he  quarreled  with  Marot,  the 
superintendent  of  the  works,  and  returned  to  London.  Not  finding  much 
employment  on  his  arrival  he  went  to  Yorkshire.  * * * On  the  death  of 

Leguerre  in  1721.  he  returned  to  London  where  he  died  in  1730. 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“His  best  work  is  on  the  staircase  at  Worksop.  He  presented  a picture 
of  ‘Diana  and  Endymion’  to  the  Painters’  Hall  in  London.  After  the  death 
of  Laguerre  in  1721,  Parmentier  returned  to  London,  died  there  and  was 
buried  in  St.  Paul’s,  Covent  Garden.”  — Painters  and  Their  Works. 


No.  248— “Christ  Choosing  His  Disciples.” 

19^x24. 

From  a very  old  English  collection. 

“And  Nathaniel  said  unto  him  (Philip),  ‘Can  there  any  good  thing  come 
out  of  Nazareth?’  Philip  said  unto  him,  ‘Come  and  see.’  Jesus  saw  Nathaniel 
coming  to  him  and  said  unto  him,  ‘Behold  an  Israelite  indeed  in  whom  is  no 
guile.’  Nathaniel  said  unto  him,  ‘Whence  knowest  thou  me?’  Jesus  answered 
and  said  unto  him,  ‘Before  that  Philip  called  thee,  when  thou  wast  under  the 
fig  tree,  I saw  thee.’”  As  Jesus  speaks  Philip  points  in  the  direction  of  the 
distant  fig  tree.  The  sudden  conviction  causes  Nathaniel  to  grow  faint  and 
he  stands  in  an  attitude  of  absolute  surrender.  The  painting  shows  some- 
what the  mark  of  age,  but  is  still  beautiful  in  the  rich  colors  and  splendid 
pencil  of  this  master  painter. 

PANNXNI  (Cavaliere  Giovanni  Paolo). 

Roman  School. 

Born  at  Piacenza  about  1695. 

Died  in  Rome,  Oct.  21,  1768. 

Pupil  in  Rome  of  Benedetto  Luti  and  of  Andrea  Lucatelli. 

Member  of  the  Academies  of  San  Luca  at  Rome,  and  in  Paris,  1732. 

“Pannini’s  pictures  are  often  strikingly  effective.” 

— Cyclopedia  of  Painters  and  Paintings. 

“Fie  also  partly  adopted  the  style  of  Salvator  Rosa.  He  applied  him- 
self to  designing  the  remaining  monuments  of  ancient  architecture  in  the 
Roman  vicinity.  His  merit,  however,  is  not  confined  to  architecture;  he 
decorated  his  pictures  with  figures  gracefully  designed  and  grouped  with  taste. 
Although  he  usually  confined  himself  to  pictures  of  an  easel  size,  he  was  not 


164 


T.  B.  WALKER  COLLECTION. 


incapable  of  succeeding  in  works  on  a larger  scale;  and  Lanzi  speaks  in 
favorable  terms  of  a ‘Christ  Clearing  the  Temple’  with  life  size  figures  in 
the  church  of  the  Signori  della  Missione  at  Piacenza.” 

— Painters  and  Engravers. 

“This  painter  was  celebrated  for  pictures  of  the  subjects  to  which  he  con- 
fined himself.  He  resided  some  time  in  Paris  about  1732,  and  was  elected 
a member  of  the  Academy.”  — Painters  and  Their  Works. 


No.  249 — “Coliseum  at  Rome.” 

11x16. 

This  greatest  and  most  magnificent  amphitheatre  ever  erected  by  the 
Romans  was  commenced  by  Vespasian,  who  reigned  from  69  to  79  A.  D.,  and 
partially  finished  by  Titus  in  A.  D.  80,  who  dedicated  the  structure  with 
shows  in  which  5,000  animals  were  killed.  It  was  intended  for  gladiatorial 
combats,  fights  with  wild  beasts  and  less  harmless  athletic  sports,  and  in  the 
early  days  of  Christianity,  many  were  martyred  here.  It  was  elliptical  in 
shape,  being  1,680  feet  in  diameter  and  157  feet  high,  while  the  diameter  of 
the  arena  was  285  feet.  The  three  great  balconies  would  hold  100,000  people, 
87,000  of  whom  could  be  seated.  The  architecture  of  the  lower  balcony  was 
Doric,  the  second,  Ionic,  and  the  upper  one  Corinthian.  It  stood  almost 
intact  until  the  sixth  century,  when  Theodoric,  king  of  the  Goths,  took 
material  from  it  with  which  to  erect  other  buildings.  This  is  one  of  the 
earliest  pictures  of  this  memorable  ruin,  and  shows  the  building  as  it  appeared 
before  any  of  the  sunken  ruins  of  the  Forum  were  unearthed.  The  painting 
was  purchased  from  a cardinal  at  Rome  by  Mr.  Nicholas  Brown  in  1845. 
There  is  an  unknown  coat  of  arms  imprinted  on  the  stretcher  frame. 


PARTON  (Arthur)  ---------  New  York 

Born  at  Hudson,  N.  Y.,  1842. 

Landscape  painter. 

Pupil  of  W.  T.  Richards,  of  Philadelphia. 

Visited  Paris  and  London  1870,  and  sketched  in  Scotland 
the  following  summer. 

Elected  an  A.  N.  A.  in  1873.  N.  A.  in  1884. 

Studio  in  New  York. 


No.  250 — “New  England  Homestead  on  a Stormy  Morning.” 

17^x27 Lh 

This  landscape  takes  one  right  into  the  heart  of  nature.  Fine,  sturdy  trees 
stand  boldly  out  against  lowering  clouds,  indicative  of  the  approaching 
shower.  The  rendering  of  the  foliage  is  very  minute,  and  the  atmospheric 
effects  and  feeling  of  the  lull  before  the  shower  are  cleverly  and  suggestively 
realized.  There  is  a sense  of  subdued  sentiment  and  a true  inspiration  of  the 
poetry  of  nature. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


165 


PEALE  (Charles  Wilson). 

Born  at  Charleston,  Md.,  April  16,  1741. 

Died  in  Philadelphia,  February  22,  1827. 

Portrait  and  Landscape  Painter. 

Student  of  Copley  and  Benjamin  West. 

“He  studied  for  a time  in  England  under  West,  and  after  his  return, 
settled  in  Philadelphia,  where  he  soon  acquired  a high  reputation  as  a por- 
trait painter.  He  afterward  formed  in  that  city  a museum  of  natural 
curiosities,  called  by  his  name,  and  containing  the  skeleton  of  a mammoth. 
He  was  also  one  of  the  founders  of  the  Academy  of  Fine  Arts  to  which 
he  contributed  numerous  pictures.” 

— Lippincotfs  Biographical  Dictionary. 

“Peale,  at  the  age  of  six-and-twenty,  studied  painting  under  Copley  in 
Boston.  In  1770-1,  he  was  in  London  studying  under  West.  In  1772,  he 
painted  a picture  of  Washington,  then  a colonel,  and  those  of  several  other 
revolutionary  officers.” 

— Painters  and  Their  Works. 

“He  was  apprenticed  to  a saddler,  and  after  being  successfully  saddler, 
harness-maker,  watch-maker,  carver,  naturalist,  and  taxidermist,  at  the  age 
of  twenty-six,  he  took  lessons  in  painting  from  Copley  of  Boston.  * * * 

He  opened  a picture  gallery  in  Philadelphia,  and  was  instrumental  in  estab- 
lishing an  academy  of  Fine  Arts  in  Pennsylvania.  * * * His  eldest  son, 

Raphael,  also  a painter,  died  at  Philadelphia  in  1825.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“He  is  said  to  have  painted  twenty  portraits  of  Washington;  one  of 
the  most  noted,  ordered  by  La  Fayette  for  the  French  King  was  purchased 
by  the  Count  de  Menou,  during  the  French  Revolution  and  presented  to  the 
National  Institute  where  it  is  still  preserved.” 

— Cyclopedia  of  Painters  and  Paintings. 


No.  251— “Harper’s  Ferry  About  1795.” 

39x56^. 

Harper’s  Ferry,  situated  in  Jefferson  county,  Va.,  fifty-five  miles  south- 
west from  Washington,  D.  C.,  at  the  confluence  of  the  Potomac  and  Shenan- 
doah Rivers,  just  where  the  former  breaks  through  the  Blue  Ridge  Moun- 
tains; is  one  of  the  most  picturesque  scenes  in  America. 

The  picture  was  painted  about  1795  or  1796,  before  the  building  of  the 
United  States’  arsenal,  which  President  Washington  began  in  1796.  Up  to 
1860,  the  government  had  expended  $1,800,000  for  improvements  and  had  in 
store  about  75,000  stand  of  small  arms.  The  place  came  into  great  promi- 
nence in  1859,  when  John  Brown  erected  his  fort  and  defied  the  govern- 
ment. When  Virginia  seceded,  Harper’s  Ferry  was  held  by  Lieut.  Roger 
Jones,  with  45  men,  and  on  the  night  of  April  18,  1861,  when,  finding  him- 
self surrounded  by  Virginia  militia,  he  set  fire  to  the  arsenal  and  escaped  to 
Carlisle,  Pa.,  thus  preventing  the  arms  and  ammunition  from  falling  into 
the  hands  of  the  Confederacy.  Of  course,  these  great  events  had  not  been 
dreamed  of  when  the  father  of  Rembrandt  Peale  painted  this  picture,  so  he 


166 


T.  B.  WALKER  COLLECTION 


presents  the  beautiful  landscape  unadorned,  save  by  the  modest  homes  of  a 
couple  of  the  “First  Families  of  Virginia/’ 


No.  252- — “Washington  at  Yorktown.” 

25x30. 

This  portrait  of  Gen.  Washington  was  painted  in  the  summer  or  early 
autumn  of  1781.  Washington,  at  this  time,  was  about  49  years  of  age,  and 
the  face  is  somewhat  fuller  than  in  later  portraits.  He  is  attired  in  dark  blue 
frock  coat,  with  lapels,  collar  and  cuffs  of  lemon  colored  velvet.  The  shoul- 
ders are  decorated  with  the  epaulets  of  his  rank  as  commander-in-chief  of  the 
American  army.  The  tight-fitting  waistcoat,  also  of  pale  yellow  velvet,  is 
trimmed  with  wide  lace,  as  are  the  sleeves  of  the  blue  coat,  as  shown  by  the 
left  hand  which  rests  upon  the  handle  of  his  sword.  In  the  back-ground  can 
be  seen  a portion  of  his  15,000  American  and  French  soldiers  under  the  colo- 
nial flag,  and  in  the  distance,  Cornwallis’  fortifications  at  Yorktown,  under 
the  British  colors. 

Washington  began  his  siege  of  Yorktown,  Sept.  28,  1781,  and  Cornwallis 
with  his  whole  army  of  7,000  surrendered  Oct.  19,  of  the  same  year.  This 
historic  portrait,  although  not  so  artistically  finished  as  his  son’s  later  por- 
trait, is  in  historic  interest  equally  important. 


PEALE  (Rembrandt)  - --  --  --  --  America 

Son  of  Charles  W.  Peale. 

Born  in  Bucks  County/  Pa.,  1778;  died,  1860. 

Washington  sat  to  Peale  for  his  portrait,  when  the  artist  was  only 
eighteen.  In  later  life,  by  careful  use  of  the  studies  made  of  his  illustrious 
sitter,  Peale  painted  this  portrait. 

“Rembrandt  Peale  obtained  a permanent  reputation  for  his  very  able  and 
truthful  portrait  of  Washington.  He  bestowed  the  best  efforts  of  his  mature 
years,  and  it  received  the  compliment  of  being  purchased  by  Congress  for 
$2,000 — a large  sum  for  an  American  painting  in  those  days  when  the  pur- 
chasing power  of  money  was  greater  than  it  is  now.” 

— Benjamin’s  Art  in  America. 

Extract  from  Peale’s  lecture  on  “Washington  and  Plis  Portrait:” 

“Washington  gave  me  three  sittings.  At  the  first  and  second,  my  father’s 
painting  and  mine  advanced  well  together;  being  at  my  right  hand,  his  was 
a little  less  full  than  mine.  In  the  third  sitting,  perceiving  that  he  was 
beginning  to  repaint  the  forehead  and  proceed  downwards,  as  was  his  custom, 
I feared  he  would  have  too  little  time  to  study  the  mouth  and  lower  part  of 
the  face,  and  therefore  I began  at  the  chin  and  proceeded  upwards.  The 
result  of  this  decision  was,  that  there  was  something  in  the  upper  part  of 
my  father’s  study  that  I preferred,  and  something  in  the  lower  portion  of 
mine  which  better  satisfied  me.  At  subsequent  periods  I made  several  studies 
to  combine  them.  To  profit  more  fully  by  the  occasion,  my  uncle,  James 
Peale,  during  the  second  and  third  sittings,  painted  at  my  left  hand  a minia- 
ture on  ivory,  and,  for  a time,  my  elder  brother  stood  beyond  my  uncle  to 
make  a profile  sketch.  Mrs.  Washington  happened  to  enter  the  room  at  the 


INDEX  AND  BIOGRAPHICAL  NOTES. 


167 


moment,  and  being  amused  by  the  circumstances,  mentioned  it  to  Stuart,  who 
jocularly  told  her  she  must  take  good  care  of  her  husband,  as  he  was  in 
danger  of  being  peeled  all  round. 

“Washington  gave  me  three  sittings  of  three  hours  each,  from  seven  to 
ten.  By  these  early  visits  I had  the  advantage  of  seeing  his  hair  in  a more 
natural  manner  than  the  barber  arranged  it,  wig-fashion,  after  ten  o’clock. 
In  this  particular,  the  hair  of  Col.  Trumbull’s  portrait  is  much  more  easy  and 
graceful,  as  he  probably  saw  it  in  the  negligence  of  a camp.  He  shaved  him- 
self before  coming  to  me,  and  the  powder  being  washed  from  the  whiskers 
in  front  of  his  ears,  showed  that  his  hair  was  dark  brown.  What  there  was 
of  gray  on  the  top  of  his  head  was  disguised  with  powder;  yet  there  his  hair 
was  abundant,  and  the  plaited  hair  behind  was  long  and  clubbed,  to  which 
was  attached  on  days  of  state  ceremony,  in  dress  of  black  velvet,  the  custom- 
ary appendage  of  a black  silk  bag. 

“My  portrait,  wet  from  the  easel,  was  packed  up  and  in  a few  days  was 
opened  in  Charleston,  where  I painted  ten  copies  of  it,  which  were  valued 
as  the  most  recent  likeness.  In  executing  these  I became  familiar  with  what- 
ever good  it  possessed,  but  also  became  still  more  sensitive  to  its  deficiencies. 

“After  the  death  of  Washington,  neither  satisfied  with  my  father’s,  nor 
Trumbull’s,  nor  Pine’s,  nor  Wertmuller’s,  nor  Stuart’s,  nor  my  own,  I made 
repeated  attempts  to  fix  on  canvas  the  image  which  was  so  strong  in  my 
mind,  by  an  effort  of  combination,  chiefly  in  my  father’s  and  my  own  studies. 
I had  made  during  several  years,  sixteen  of  these  attempts;  and  though  not 
equal  to  my  own  expectations,  they  all  found  satisfied  possessors.  I deter- 
mined, in  1823,  to  make  a last  effort;  and  under  an  excitement,  even  beyond 
the  ’poetic  frenzy’  which  controlled  me  during  three  months  to  the  exclusion 
of  every  other  thought,  and  to  the  grief  of  my  father,  who  considered  it  a 
hopeless  effort,  I succeeded  to  his  conviction.’’ 


No.  253 — “Portrait  of  General  Washington.” 

36x30. 

Purchased  from  the  artist  by  a New  York  merchant. 

“Chief  Justice  Marshall  and  others  always  declared  it  the  best  likeness 
of  Washington  ever  painted.”  — Corcoran  Gallery  Catalogue. 

Mr.  Sutton,  of  the  American  Art  Galleries,  who  is  probably  the  most 
competent  judge  in  this  country,  in  speaking  of  this  portrait,  said: 

“You  may  say  for  me  that  I regard  this  as  the  finest  portrait  of  Wash- 
ington in  existence.  I have  made  a special  study  of  Washington’s  portraits 
both  in  oil  and  engravings,  and  have  a large  number  of  engraved  copies  by 
various  artists,  and  I consider  this  the  most  lifelike  and  natural  of  all  Wash- 
ington’s portraits.  It  is  similar  to,  but  better  than,  the  one  hanging  in  the 
President’s  room  back  of  the  Senate  Chamber  in  the  Capitol.” 

No.  254 — “Portrait  of  George  Washington.” 

35x28 

Originally  owned  by  John  Isaiah  Northrop  and  at  his  death  about  1870, 
became  the  property  of  Mr.  J.  A.  Hall,  of  Copake  Falls,  N.  Y.,  whose  wife 
was  the  daughter  of  Mr.  Northrop. 

By  reference  to  Mr.  Peale’s  story  as  told  above,  it  will  be  seen  that  he 


168 


T.  B.  WALKER  COLLECTION. 


painted  several  portraits  from  the  sketches  made  by  himself,  his  father  and 
his  uncle,  from  personal  sittings  of  the  general.  He  had  in  his  mind  the  exact 
image  of  Washington,  and  all  his  portraits  were  most  natural  and  lifelike  as 
is  this  splendid  example,  and  is  probably  second  to  none,  except  the  wonderful 
portrait  in  this  collection,  which  Chief  Justice  Marshall  pronounces  the  best 
ever  painted.  George  Washington  was  born  February  22  (old  style  Feb.  11), 
and  died  at  Mount  Vernon  December  14,  1799. 


No.  255— “Martha  Washington  ” 

35x28^2. 

Companion  to  the  General  Washington  last  described  and  came  from  the 
same  collection.  In  fact,  the  two  portraits  have  never  been  separated  since 
they  came  from  the  easel  of  this  greatest  of  American  portrait  painters. 
The  portrait  was  painted  in  the  same  period  as  its  companion  and  is  not  only 
considered  a most  splendid  likeness,  but  is  also  readily  recognized  as  a work 
of  art  well  worthy  this  great  colorist. 

Mrs.  Martha  Custis  was  married  to  General  Washington  on  January  17th, 
1759.  Her  maiden  name  was  Daudridge,  and  at  the  time  of  her  marriage  she 
was  the  widow  of  John  Parke  Custis.  She  was  of  the  same  age  as  Mr.  Wash- 
ington, and  although  they  were  childless,  they  were  most  happy.  They,  how- 
ever, adopted  two  of  Mrs.  Washington’s  nephews,  and  brought  them  up  as 
their  own  children  at  Mount  Vernon. 


PEBBLES  (Frank  M.). 

Born  in  New  \ ork  State,  October  16,  1839. 

Portraits  and  Figures  in  Oil. 

Member  of  the  Society  of  Chicago  Artists. 

President  Chicago  Academy  of  Design. 

“Son  of  S.  and  Mary  J.  Pebbles.  Studied  at  the  National  Academy  of 
Design  (N.  R.)  and  under  Edwin  White;  married  to  Clara  M.  Russell,  1861. 
Exhibited  at  the  Chicago  Art  Institute,  San  Francisco  (Calif.),  etc.  Received 
First  Prize  at  the  Oakland  Exposition;  Prize  at  San  Francisco  Fair,  1877 
(Calif.);  and  several  diplomas  in  different  states.  Is  represented  by  portraits 
in  the  permanent  collection  at  the  Capitol,  Washington  (D.  C.),  Gallery  of 
Emperor  of  Japan,  Crocker  Gallery  (Sacramento,  Calif.),  Gallery  Independ- 
ent Order  of  Foresters  (Toronto,  Canada).  Resides  at  Oak  Park,  Illinois.” 

— Artists’  Year  Book , 1905-1906. 

No.  256 — “Ulyssls  Simpson  Grant.” 

29^x24. 

Painted  in  1879  upon  his  return  from  a tour  of  the  world. 

U.  S.  Grant,  the  celebrated  American  general  and  eighteenth  president  of 
the  United  States,  was  born  April  22,  1822,  in  a little  two-room  cabin  in 
Point  Pleasant,  Ohio.  At  the  age  of  seventeen  his  father  procured  for  him 
an  appointment  to  the  West  Point  Military  Academy.  After  his  gradua- 
tion, he  was  breveted  second  lieutenant  of  the  Fourth  Infantry  and  was  at 


INDEX  AND  BIOGRAPHICAL  NOTES. 


169 


St.  Louis  until  1844.  His  regiment  was  then  ordered  to  Natchitoches,  La., 
where  they  remained  until  May  1845,  when  the  Mexican  war  opened  and  in 
this  his  regiment  was  engaged  for  three  years.  After  serving  several  years 
more  in  Oregon  and  California,  he  settled  on  a farm  which  he  called  “Hard- 
scrabble,” near  St.  Louis,  in  1854,  where  he  remained  for  about  six  years, 
moving  to  Galena,  111.,  in  1860.  At  the  breaking  out  of  the  rebellion,  he 
was  made  a colonel.  In  1863,  after  several  successful  campaigns,  he  was 
made  commander-in-chief  of  all  the  armies  of  the  Mississippi.  On  April  9, 
1865,  he  captured  Lee’s  army,  ending  the  war  and  became  the  chief  citizen 
of  the  Republic.  In  1868,  and  again  in  1872,  he  was  elected  President,  and 
in  1878-9  made  his  memorable  tour  of  the  world.  He  died  at  Mt.  McGregor, 
N.  Y,  July  23,  1885. 

Pronounced  a splendid  likeness  of  Mr.  Grant  at  this  period. 


PIOMBO  (Sebastiano  del). 

Born  in  Venice,  in  1485.  Died  in  Rome,  June  21,  1540. 

Venetian  School. 

Real  name,  Luciani.  Pupil  of  Giovanni  Dellini  and  afterwards  of 
Giorgione.  A contemporary  and  strong  competitor  of  Raphael, 
Michael  Angelo,  Giorgione  and  Giovanni  Bellini. 

“Sebastiano,  under  the  guidance  of  Michael  Angelo,  who  in  many  cases 
supplied  him  with  designs,  executed  pictures  which  to  some  eyes  equal  those 
of  Raffaelle,  and  after  the  death  of  the  latter,  won  him  the  name  of  the  best 
painter  in  Rome.”  — Cyclopedia  of  Painters  and  Paintings. 

“Sebastiano  made  himself  especially  celebrated  as  a portrait  painter.  In 
the  London  National  Gallery  are  two  fine  specimens,  one  canvas  represent- 
ing the  Friar  himself,  along  with  Cardinal  Ippolito  de  Medici;  another,  a 
portrait  of  a lady.  He  also  painted  Giulia  Gonzago,  Marcus  Antonio  Colonna, 
Vittoria  Colonna,  Ferdinand  Marcus  Pescara,  Popes  Adrian  the  Sixth,  Clem- 
ent the  Seventh,  Paul  the  Third,  etc.”  — Encyclopedia  Britannica. 

“He  first  distinguished  himself  as  a portrait  painter,  to  which  his  powers 
were  peculiarly  adapted.  His  portraits  were  boldly  designed  and  full  of 
character.  The  heads  and  hands  were  admirably  drawn  with  an  exquisite 
tone  of  coloring  and  extraordinary  relief.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“ ‘The  Flagellation  of  Christ,’  at  the  Osservanti  of  Viterbo,  is  esteemed 
the  best  picture  in  the  city.  Pictures  for  private  rooms  and  portraits  he 
painted  in  great  numbers  and  with  comparative  ease;  and  we  nowhere  meet 
with  more  beautiful  heads,  more  rosy  flesh  tints  and  more  novel  accessories 
than  in  these.”  — Luigi  Lanzi,  in  “History  of  Painting  in  Italy.” 

“He  first  studied  with  Giovanni  Bellini,  then  far  advanced  in  years,  and 
afterward  with  Giorgione,  and  became  the  most  distguinshed  disciple  of  his 
school,  the  most  successful  imitator  of  the  harmony  of  his  coloring,  the 
breadth  of  his  chiaro-scuro,  and  the  fullness  of  his  forms.  He  first  dis- 
tinguished himself  as  a portrait  painter,  to  which  his  powers  were  peculiarly 
adapted.  His  portraits  were  admired  for  the  striking  resemblance,  the  sweet- 
ness of  the  coloring,  and  the  roundness  and  boldness  of  relief,  which  made 
his  figures  appear  to  stand  out  from  the  canvas.” 

— SpoonePs  History  of  the  Fine  Arts. 


170 


T.  B.  WALKER  COLLECTION. 


“‘The  Raising  of  Lazarus,’  now  in  the  London  National  Gallery,  was 
painted  in  1517-19  for  Giulio  de  Medici,  then  Bishop  of  Narbonne,  after- 
wards Pope  Clement  VII. ; and  it  remained  in  Narbonne  Cathedral  until  pur- 
chased by  the  Duke  of  Orleans  early  in  the  18th  century — coming  to  England 
with  the  Orleans  gallery  in  1792. 

“ ‘Raphael’s  Transfiguration’  was  painted  for  the  same  patron  and  the 
same  destination.  The  two  works  were  exhibited  together,  and  some  admir- 
ers did  not  scruple  to  give  the  preference  to  Sebastiano’s.” 

— Encyclopedia  Britannica. 


No.  257 — “Portrait  of  Vittoria  Colonna.” 

32x27. 

From  the  Collection  of  the  Earl  of  Dudley. 

This  lady  is  referred  to  in  the  life  of  Michelangelo,  as  we  find  it  in  the 
British  Encyclopedia,  as  follows:  “Soon  afterwards,  Michaelangelo  made 

the  acquaintance  of  the  pious,  accomplished  and  high-souled  lady,  Vittoria 
Colonna,  widow  of  the  Marquis  Pescara.  For  twelve  years  until  her  death, 
which  happened  in  1547,  her  friendship  was  the  great  solace  of  Michael- 
angelo’s  life.  On  her  in  all  loyalty  and  reverence,  he  poured  out  all  the 
treasures  of  his  mind,  and  all  his  imprisoned  powers  of  tenderness  and 
devotion.  He  painted  her  a crucifixion  of  extraordinary  beauty,  of  which 
many  imitations,  but  not  the  original,  have  come  down  to  us.  She  was  the 
chief  inspirer  of  his  poetry,  in  which,  along  with  her  praises,  the  main  themes 
are  the  Christian  religion,  the  joys  of  Platonic  love  and  the  power  and 
mysteries  of  art.  Michaelangelo’s  poetical  style  is  strenuous  and  concen- 
trated like  the  man.  And  so  the  migh'ty  sculptor,  painter  and  poet  reached 
old  age.  An  infirmity  which  settled  on  him  in  1544,  and  the  death  of  Vittoria 
Colonna,  in  1547,  left  him  broken  in  health  and  heart.” 

This  picture  represents  one  of  the  most  refined  portraits  by  the  strongest 
competitor  and  contemporary  of  Raphael,  Michaelangelo,  Giorgione  and 
Giovanni,  Bellini,  and  as  a portrait  painter,  perhaps,  at  least  equal,  if  he  did 
not  excel,  either  one  of  these  greatest  of  the  old  masters. 


PORBUS  (Francis,  Jr.). 

“A  skillful  painter  of  portraits  and  history,  a son  of  Frans  the  elder,  was 
born  at  Antwerp  in  1570.  He  worked  mostly  in  Paris.  ‘His  picture  of  the 
Last  Supper,’  says  the  Biographie  Universale,  ‘is  one  of  the  finest  productions 
of  the  Flemish  School.’  Died  in  Paris  in  1622.” 

— Lippincotfs  Pronouncing  Biographical  Dictionary. 

“He  painted  the  portraits  of  the  royal  family,  and  the  most  distinguished 
personages  of  the  court.  His  talents  were  not  confined  to  portraits;  there 
are  several  of  his  pictures  in  the  churches  at  Paris,  which  establish  his  repu- 
tation as  a painter  of  history.  His  most  esteemed  performance  is  the  ‘Last 
Supper,’  formerly  in  the  church  of  St.  Leu,  now  in  the  gallery  of  the  Louvre; 
it  is  a grand  and  simple  composition,  the  figures  correctly  designed,  and  the 
coloring  rich  and  harmonious.  In  the  Hotel  de  Ville,  are  two  pictures  by 
Porbus  of  the  Minority  and  Majority  of  Louis  XIII.,  which  he  has  treated 
with  great  ingenuity,  and  the  portraits  he  has  introduced  have  an  admirable 


INDEX  AND  BIOGRAPHICAL  NOTES. 


171 


appearance  of  truth  and  nature.  The  portrait  of  Henry  IV.  was  formerly 
in  the  collection  of  the  king  of  France.  It  is  now  in  the  French  Museum.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“Flemish  school;  history  and  portrait  painter,  son  and  pupil  of  Frans 
the  elder.  Free  of  the  guild  in  1591;  for  some  time  in  Brussels,  from  1600 
court  painter  to  Vincenzo  I.,  Gonzaga  at  Mantua,  then  from  1610  flourished 
at  the  court  of  Henry  IV.  of  France,  and  painted  various  pictures  of  that 
monarch  and  his  queen.”  — Cyclopedia  of  Painters  and  Paintings. 

“He  acquired  great  distinction,  and  painted  the  portraits  of  the  royal 
family  and  many  of  the  most  distinguished  personages  of  the  court.  His 
talents  were  not  confined  to  portraits,  and  he  executed  several  works  for 
the  churches,  which  obtained  for  him  a high  reputation  as  a historical  painter. 
He  surpassed  his  father  in  elegance  and  grace,  and  in  the  noble  simplicity  of 
his  drapery.  His  design  was  remarkably  correct  and  his  coloring  rich  and 
harmonious.”  — Spooner’s  History  of  the  Fine  Arts. 


No.  258 — “Portrait  of  Maria  de  Medici  in  Her  Twenty-second 

Year” 

25x20. 

From  the  Collection  of  Baron  de  Bourneville,  of  Paris. 

One  of  the  characteristic  and  important  portraits  of  this  master  of  the 
Flemish  school.  The  picture  is  well  preserved,  beautifully  painted  and  makes 
a very  attractive  example  of  this  artist’s  work. 

Maria  de  Medici  was  the  daughter  of  Francis,  Grand  Duke  of  Tuscany 
and  the  Archduchess  Joan  of  Austria,  and  was  born  at  Florence  in  1573. 
She  was  married  in  1600  to  Henry  IV.  of  France.  After  the  death  of  Henry, 
became  regent,  but  owing  to  her  bad  temper  and  incompotency  she  was 
deposed,  but  again  took  part  in  the  government  introducing  Richelieu  who 
afterwards  caused  her  to  be  imprisoned;  she  escaped  but  died  in  1642. 


POUSSIN  (Nicholas). 

Born  in  Le  Grand  Adelyn,  Normandy,  probably  June  15,  1593. 

Died  in  Rome,  November  19,  1665. 

Reputed  student  of  Noel  Jouvenet  de  Rouen  and  Quintin  Varin,  also 
* Ferdinand  Elle  and  L’Allemand  in  Paris. 

Appointed  first  painter  in  ordinary  by  Louis  XIII.  in  1640. 

“He  has  been  called  the  head  of  the  French  School.  * * * Nicholas 

early  showed  a predilection  for  art.  After  some  opposition,  he  succeeded 
in  obtaining  their  (his  parents’)  consent  to  his  receiving  instruction  from  an 
artist  named  Quintin  Varin.  * * * From  him,  Poussin  learned  to  paint 

in  distemper  and  also  in  oils.  This  instruction  only  served  to  whet  his 
appetite  for  art,  and  to  render  him  desirous  of  continuing  his  studies  in  Paris. 
Accordingly,  at  the  age  of  eighteen,  he  quitted  his  home  secretly  and  man- 
aged to  reach  the  capital  unaided  by  friends  and  with  the  slenderest  resources. 
In  Paris  he  continued  his  training  under  Ferdinand  Elle,  a Flemish  painter, 
and  afterwards  under  L’Allemand,  a Lorrainer.  Though  doubtless  he  received 


172 


T.  B.  WALKER  COLLECTION. 


some  assistance  from  these  masters,  his  progress  was  due  rather  to  the  study 
of  Marc  Antonio’s  engravings  after  Raphael  and  Guilio  Romano.  * * * 
He  formed  an  acquaintance  with  Philippe  de  Champaigne,  like  himself  a 
pupil  of  L’Allemand,  and  the  two  worked  for  some  time  under  Duchesne  on 
the  decorations  of  the  Luxembourg.  But  this  employment  soon  became  irk- 
some and  Poussin  again  endeavored  to  reach  Rome.  * * * (He  only  pro- 

ceeded as  far  as  Florence  and  painted  his  way  back  to  Paris,  but  subsequently 
went  to  that  city  in  1624.) 

Louis  XIII.  expressed  his  royal  wishes  and  although  Poussin  yielded 
it  was  not  until  1640  that  he  arrived  in  France.  * * * At  first  all  went 
well.  He  was  presented  to  the  great  Richelieu  and  to  the  king,  and  was 
received  with  great  favor.  * * * His  chief  opponents  were  the  hitherto 

all-powerful  Vouet-Feuquieres  and  the  architect  Lemercier.  Wearied  at  last 
of  their  cabals,  he  obtained  leave,  under  the  pretense  of  fetching  his  wife, 
to  go  to  Rome.  Thither  he  set  out  in  the  autumn  of  1642  and  never  returned 
to  his  native  country.  * * * The  most  striking  characteristic  of  Poussin 
is  his  intimate  knowledge  and  appreciation  of  classic  art.  His  composition 
and  drawing  are  but  little  obnoxious  to  criticism,  though  it  must  be  owned 
that  there  is  an  occasional  stiffness  in  the  latter,  the  result  of  incessant  study 
of  statutes  and  friezes.”  — Bryan’s  Dictionary  of  Painters  and  Engravers. 

“Eustache  le  Sueur  and  Nicolas  Poussin  were  the  two  chief  painters 
France  produced  up  to  the  middle  of  the  seventeenth  century,  and  it  would 
be  difficult  to  find  men  among  their  successors  whose  pictures  will  bear 
comparison  with  theirs,  especially  with  those  of  Poussin.” 

— Painters  and  Their  Works. 

“Raffaelle  and  Julio  Romano  had  preceded  him  in  study  from  the 
remnants  of  antiquity,  but  Poussin’s  perception  of  the  use  that  might  be  made 
of  them  was  totally  distinct  from  theirs.  It  was  also  more  strictly  imitative 
of  ancient  forms,  customs,  dresses,  and  appropriate  scenery;  of  all  which  he 
has  left  us  a most  useful  display.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“His  noble  style,  his  skill  in  composition,  his  elegance  in  the  grouping 
and  disposition  of  his  figures,  and  his  truly  grand  and  poetic  feeling  in  land- 
scape, entitle  him  to  the  first  place  among  painters  of  the  French  School.” 

— Cyclopedia  of  Painters  and  Paintings. 


No.  259— “The  Flight  Into  Egypt” 

“The  angel  of  the  Lord  appeared  unto  Joseph  in  a dream,  saying: 
‘Arise  and  take  the  young  child  and  his  mother,  and  flee  into  Egypt;  and  be 
thou  there  until  I bring  thee  word;  for  Herod  will  seek  to  kill  the  young 
child  to  destroy  him.’  When  he  arose,  he  took  the  young  child  and  his 
mother,  by  night,  and  departed  into  Egypt,  and  was  there  until  the  death 
of  Herod.”  (Matthew  11:13-14.) 

Mary  with  the  infant  Jesus  in  her  arms  is  seated  upon  a donkey,  which 
Joseph  is  leading,  and  a servant  with  luggage  plods  along  beside.  All  are 
elegantly  attired  in  gold-trimmed  garments,  no  doubt  the  gift  of  the  wise 
men  who  visited  the  night  of  their  departure.  At  the  moment  they  are 
passing  beneath  the  shadows  of  some  fine  palm  trees,  while  the  birds  warble 
a song  of  thanksgiving  to  the  “King  of  Kings  and  Lord  of  Lords.” 


INDEX  AND  BIOGRAPHICAL  NOTES. 


173 


RAMSAY  (Allan). 

Born  in  Edinburgh,  1713.  Died  in  Dover,  Aug.  10,  1784. 

Entered  St.  Martin’s  Lane  Academy,  1733. 

Student  in  Italy  of  Solimena  and  Imperiali. 

Vice-President  Society  of  Artists,  1766. 

Principal  Painter  to  the  Court  of  George  III.,  1767. 

“Son  of  the  author  of  ‘The  Gentle  Shepherd.’  * * * Studied  portrait- 
ure in  Rome  and  on  his  return  to  London  attained  distinction.  * * * Was 

appointed  principal  painter  to  George  III.,  whose  portrait  he  painted  so  many 
times  that  he  was  obliged  to  employ  assistants.  He  died  on  his  return  from 
a fourth  visit  to  Italy.  Walpole  praises  his  portraits  of  women,  preferring 
some  of  them  to  those  of  Reynolds.”  — Cyclopedia  of  Painters  and  Paintings. 

“In  1758  he  was  a distinguished  painter  and  very  fully  employed  in  Lon- 
don and  Edinburgh.  In  1766  he  was  Vice-President  of  the  Incorporated 
Society  of  Artists.  Lord  Bute  introduced  him  to  the  Prince  of  Wales  and 
when  he  became  George  III..  Ramsay  was  appointed  principal  painter  to  the 
King.  Ramsay  was  a good  linguist,  and  Reynolds  and  Johnson  praised  his 
literary  acquirements  and  general  knowledge.  His  portraits  are  in  general 
natural  and  simple,  if  somewhat  deficient  in  strength.” 

— Painters  and  Their  Works. 

“He  was  a scion  of  the  house  of  Dalhousie,  his  great  grandfather  being 
the  Laird  of  Cockpen,  a brother  of  the  chief.  * * * From  that  year  (1767) 
Ramsay  conducted  a sort  of  picture  factory  from  which  he  turned  out 
Georges  and  Charlottes  by  the  score.  His  chief  assistants  were  David  Martin, 
Mrs.  Black,  Eikhart  Van  Dyck,  Roth  and  Vesperier,  to  whom  he  added  in 
later  years  the  well  known  Philip  Reinagle.  * * * Of  Ramsay,  Dr.  John- 

son said,  “You  will  not  find  a man  in  whose  conversation  there  is  more 
instruction  or  more  elegance  than  in  Ramsay’s.” 

— Bryan's  Dictionary  of  Painters  and  Engravers. 

No.  260 — “Queen  Charlotte.” 

41x34. 

From  the  Collection  of  the  Marquis  of  Waterford. 

She  was  Charlotte  Sophia,  daughter  of  the  Duke  of  Mecklenberg-Screlitz. 
She  married  George  III.  of  England,  Sept.  8,  1761,  sharing  the  throne  with 
him  for  fifty-seven  years,  and  bearing  hirn  fifteen  children,  all  but  two  of 
which  grew  up. 

This  splendid  portrait  was  painted  between  1767  and  1775,  during  which 
time  Ramsay,  as  court  painter  to  the  king,  produced  a number  of  portraits 
of  Charlotte.  She  is  here  shown  in  her  queenly  robes,  with  the  imperial 
crown  and  other  royal  jewels,  including  two  strings  of  magnificent  pearls, 
looped  on  either  shoulder  and  hanging  pendant-like  to  the  hem  of  the  gold- 
embroidered  gown.  The  painting  as  a whole  shows  the  work  of  a master, 
but  the  rich  velvet  coat  trimmed  in  royal  ermine,  and  the  great  folds  of  hand- 
made lace,  have  seldom,  if  ever,  been  surpassed. 


174 


T.  B.  WALKER  COLLECTION 


RAPHAEL. 

Born  at  Urbino,  April  6,  1483.  Died  in  Rome,  April  6,  1520. 

Umbrian  and  Roman  School. 

“Eager  only  to  perfect  his  work,  and  incapable  of  jealousy,  he  studied 
the  grandiose  style  of  Michelangelo  and  the  rich  color  of  Sebastiano  del 
Piombo,  that  he  might  improve  his  own  style  and  color,  and  to  the  day  of 
his  death  achieved  ever-increasing  excellence. 

“An  unrivalled  skill  in  composition,  an  added  power  of  expression,  an 
increased  grandeur  of  style,  an  improvement  in  the  use  of  color,  a mastery 
of  portraiture  and  a perception  of  ideal  beauty  culminates  in  the  Madonna 
di  San  Sisto.  Nor  must  we,  in  speaking  of  this  great  painter’s  life-work, 
forget  to  mention  the  immense  number  of  exquisite  studies  and  designs  in 
pen  and  ink,  silver  point,  pencil  and  chalk,  which  constitute  by  no  means  the 
least  precious  part  of  the  world’s  inheritance  from  the  Prince  of  Painters.” 

— Cyclopedia  of  Painters  and  Paintings. 

“This  illustrious  artist  has,  by  the  general  approbation  of  mankind,  been 
styled  the  prince  of  painters,  and  is  universally  acknowledged  to  have  pos- 
sessed a greater  combination  of  the  higher  excellencies  of  the  art  than  has 
fallen  to  the  lot  of  any  other  individual. 

“If  it  is  allowed  that  the  noblest  object  of  the  art  is  not  to  accomplish 
that  which  merely  pleases  the  eye,  but  that  which  satisfies  the  mind,  and 
secures  the  approbation  of  the  intelligent,  Raffaelle  must  be  regarded  the 
greatest  artist  with  whose  works  we  are  acquainted,  as  he  may  be  said  to  have 
surpassed  in  this  branch  everything  he  could  have  seen,  either  ancient  or 
modern,  and  as  nothing  has  appeared  since  that  can  dispute  his  title  to  that 
pre-eminence.”  — Bryan’s  Dictionary  of  Painters  and  Engravers. 

“When  we  consider  the  immense  field  over  which  his  labors  were  spread 
and  the  strong  personal  individuality  which  appears  in  all  these  varied 
branches  of  art,  together  with  the  almost  incredible  number  of  paintings  that 
issued  from  his  studio,  it  will  be  seen  that  he  must  have  labored  with  an 
amount  of  unflagging  industry  which  has  perhaps  never  been  surpassed. 

“Among  all  the  painters  of  the  world,  none  has  been  so  universally 
popular  as  Raphael  or  has  so  steadily  maintained  his  pre-eminent  reputation 
throughout  the  many  changes  in  taste  which  have  taken  place  in  the  last  three 
centuries  and  a half.  Apart  from  his  combined  merits  as  a draughtsman, 
colorist,  and  master  of  graceful  composition,  he  owes  the  constancy  of 
admiration  which  has  been  felt  for  him,  partly  to  the  wide  range  of  his  sub- 
jects, but  still  more  to  the  wonderful  varieties  of  his  style. 

“In  versatility  of  power,  Raphael  (as  a painter)  remains  almost  without 
a rival.”  — Encyclopedia  Britannica. 

“He  excelled  in  portrait,  as  well  as  in  history,  and  by  his  pencil  immortal- 
ized the  Popes  Julius  II.  and  Leo  X.,  with  many  of  the  cardinals,  representing 
them  with  such  life  and  nature,  dignity  of  character  and  expression  as  sur- 
passes the  power  of  description.  The  portrait  of  the  first  of  these  popes  is 
now  in  the  British  National  or  Royal  Gallery.  He  finished  his  pictures,  espe- 
cially those  in  oil,  exquisitely,  and  took  every  care  to  give  them  the  utmost 
perfection,  and  yet  he  is  said  to  have  been  very  expeditious  in  his  method 
of  working.”  — Pilkington’s  Dictionary  of  Painters. 

“Let  it  be  always  remembered  that  the  excellence  of  his  style  is  not  on 
the  surface,  but  lies  deep,  and  at  first  view  is  seen  but  mistily.  It  is  the 


INDEX  AND  BIOGRAPHICAL  NOTES. 


175 


florid  style  which  strikes  at  once,  and  captivates  the  eye  for  a minute,  without 
ever  satisfying  the  judgment.  Nor  does  painting  in  this  respect  differ  from 
other  arts;  a just  poetical  taste  and  the  acquisition  of  a nice  discriminative 
musical  ear,  are  equally  the  work  of  time/’ 

— Joshua  Reynold’s  Review  of  Raphael. 

“General  opinion  has  placed  Raphael  at  the  head  of  his  art,  not  because 
he  possessed  a decided  superiority  over  every  other  painter  in  every  branch, 
but  because  no  other  artist  ever  united  with  his  own  peculiar  excellence  all 
the  other  parts  of  the  art  in  an  equal  degree  with  him.”  — Fuseli. 

“Is  the  third  and  greatest  in  the  quartet  of  acknowledged  world  masters 
of  painting.”  — Hoyt’s  Historic  Schools  of  Painting. 

“The  name  of  this  illustrious  Italian  painter  is  variously  spelled:  by  the 
Italians,  Raffaelle;  by  the  French,  Raphael  or  Raffaello;  by  the  Germans, 
Rafael;  by  the  old  English  writers,  Raphael,  and  the  moderns,  Raffaele. 

“By  the  general  approbation  of  mankind,  Raffaelle  has  been  styled  the 
prince  of  painters,  and  he  is  universally  acknowledged  to  have  possessed  a 
greater  combination  of  the  higher  excellencies  of  art  than  has  ever  fallen  to 
the  lot  of  any  other  individual.  He  has  had  severe  critics,  but  more  able 
defenders.  It  has  been  remarked  by  Sir  Joshua  Reynolds  and  other  authors, 
as  well  as  by  many  travelers,  as  a remarkable  fact,  that  the  most  capital  fres- 
coes of  Raffaele  in  the  Vatican  do  not  at  first  strike  the  beholder  with  sur- 
prise, nor  satisfy  his  expectations;  but,  as  he  begins  to  study  them,  he  con- 
stantly discovers  new  beauties,  and  his  admiration  continues  to  increase  with 
contemplation.”  — Spooner’s  History  of  the  Fine  Arts. 


No.  261 — “Portrait  of  Pope  Julius  II.” 

From  the  Collection  of  Sir  Cecil  Miles. 

43x33. 

Dr.  Waagen,  Director  of  the  Royal  Gallery  of  Pictures  in  Berlin,  in  his 
celebrated  volume,  published  in  1854,  entitled  “Art  Treasures  in  Great 
Britain,”  in  Vol.  3,  page  178,  says  of  Leigh  Court:  “On  my  first  sojourn  in 
England,  1835,  the  fame  of  the  pictures  belonging  to  J.  P.  Miles,  Esq.,  mainly 
induced  me  to  visit  that  part  of  the  country;  and  though,  from  the  hurried 
manner  in  which  I was  driven  through  the  rooms,  I saw  them  to  great  dis- 
advantage, yet  I had  time  enough  to  convince  myself  that  they  far  exceeded 
the  expectations  I had  formed.  The  collection,  indeed,  contains  a series  of 
fine  works  by  the  most  eminent  Italian,  Flemish,  Spanish,  and  French  mas- 
ters, which  would  grace  the  palace  of  any  monarch.  I was,  therefore,  the 
more  glad,  on  a later  occasion,  to  avail  myself  of  the  kindness  of  Mr.  Harford, 
who,  being  acquainted  with  the  family,  drove  me  over  to  Leigh  Court,  when 
I enjoyed  the  liberty  of  inspecting  the  pictures  at  my  leisure.  I am,  there- 
fore, now  better  qualified  to  give  a fuller  and  more  exact  account  of  them.” 
And  in  describing  in  particular  this  painting  of  Raphael’s,  “Pope  Julius 
II.,”  says,  “I  would  not  mention  this  picture,  of  which  there  are  such  numer- 
ous repetitions,  were  it  not  different  from  all  that  I have  seen  and  extremely 
excellent.  The  features  are  not  so  large  and  the  genuine  Italian  nose,  in  par- 
ticular, is  more  finely  formed.  The  treatment  is  masterly.  On  panel.” 

A duplicate  or  replica  portrait  of  a well  known,  prominent  person  is  not 
regarded  the  same  as  a replica  of  an  ornamental  picture  like  a landscape  or 


176 


T.  B.  WALKER  COLLECTION. 


figure  piece,  as  many  of  the  great  artists  have  reproduced  without  discredit 
portraits  of  prominent  personages,  which  portraits  are  all  regarded  as 
originals.  The  portrait  of  Pope  Julius  in  the  National  Gallery  in  London  is 
spoken  of  by  Dr.  Waagen  as  “a  reproduction  from  the  Falconieri  Palace, 
and  as  is  often  the  case  with  copies,  is  defective  in  keeping,  the  forehead 
appears  too  light  compared  with  the  dark  heavy  tones  of  the  other  parts  of 
the  face.” 

This  Leigh  Court  picture  was  painted  on  a heavy  oak  panel  over  an  inch 
and  a quarter  in  thickness  and  which  panel  was  so  badly  eaten  by  the  worms 
that  it  was  only  a shell,  being  absolutely  honeycombed  through  the  paint. 
The  panel  was  cut  away  to  about  one-half  an  inch  in  thickness  in  order  to 
straighten  and  cradle  it,  which  was  done  after  the  picture  came  into  the 
possession  of  the  present  owner.  It  has  always  been  known  in  England  as 
an  original  painting  by  Raphael  and  as  pronounced  by  Dr.  Waagen,  “differ- 
ent from  all  others  that  I have  seen  and  extremely  excellent.” 


RAEBURN  (Sir  Henry). 

Born  in  1756,  died  in  1823. 

“Son  of  a Scotch  clergyman,  was  as  highly  esteemed  in  Edinburgh  as 
Sir  Joshua  Reynolds  had  been  in  London.  He  was  overwhelmed  with 
sitters,  and  has  left  much  of  the  fruit  of  his  labor  in  the  Edinburgh  Academy, 
which  has  preserved  his  portraits  of  Sir  Walter  Scott,  Dugald  Stewart, 
Francis  Jeffery,  and  many  other  eminent  Scotchmen.  His  style  was  manly, 
broad  and  forcible,  and  his  merits  were  so  justly  appreciated  that  he  was 
knighted  by  George  IV.  and  appointed  royal  painter.” 

— Radcliffe’s  Schools  and  Masters  of  Painting. 

“Both  his  art  and  his  society  were  esteemed.  Lie  was  surrounded  by 
friends,  and  painted  the  most  distinguished  of  his  northern  countrymen.  He 
paid  only  short  visits  to  London  and  knew  little  of  the  art  or  the  artists  of 
the  metropolis.  But  honors  fell  thick  upon  him  in  his  native  city.  In  1812 
he  was  elected  president  of  the  Society  of  Artists  in  Scotland;  in  1813  an 
associate  of  the  Royal  Academy,  London,  and  the  following  year  an  academi- 
cian. He  held  undisputed  pre-eminence  in  art,  and  was  surrounded  by 
friends.”  — Redgrave’s  Dictionary  of  Artists  of  the  English  School. 

“He  became  distinguished  as  a portrait  painter,  though  he  also  exhibited 
a few  historical  pieces  at  the  Royal  Academy  in  London,  of  which  he  was  a 
member.  Of  that  of  Edinburgh,  he  was  chosen  president  and,  when  George 
the  Fourth  visited  his  northern  capital,  the  honor  of  knighthood  was  con- 
ferred upon  him,  and  he  subsequently  received  the  appointment  of  first  por- 
trait painter  to  the  king  in  Scotland.  He  was  equally  remarkable  for  correct- 
ness of  drawing,  freedom  of  penciling,  brilliancy  of  coloring  and  a personi- 
fication of  character  not  less  vigorous  than  graceful.  He  possessed  the  rare 
faculty  of  producing  in  every  instance  the  most  striking  and  agreeable  like- 
ness, and  of  indicating  intellectual  expression  and  dignity  of  demeanor  where- 
ever  they  appeared  in  the  original;  often  approaching  in  his  portraits  to  the 
elevation  of  historical  painting.”  — Pilkington’s  Dictionary  of  Painters. 

“For  years,  application,  improvement  and  success  went  hand  in  hand; 
and  he  might  reckon  the  greater  part  of  the  distinguished  men  of  Scotland 
of  his  time  among  his  sitters  and  friends.  In  1814,  he  became  an  associate  of 


INDEX  AND  BIOGRAPHICAL  NOTES. 


177 


the  Royal  Academy,  and  in  the  following  year,  R.  A.,  it  is  said,  without  the 
usual  humiliating  solicitation.  Raeburn  could  represent,  with  the  force  of 
truth,  men  of  intellect  and  genius,  but  could  not  condescend  to  the  frivolities 
of  fashion.  His  power  lay  in  depicting  the  mind,  not  the  decorative  para- 
phernalia of  the  coxcomb,  or  the  millinery  and  affected  air  of  the  beauties  of 
the  salon  or  drawing  room.”  — Bryan’s  Dictionary  of  Painters  and  Engravers. 


“Raeburn  was  fortunate  in  the  time  in  which  he  practised  portraitures. 
Sir  Walter  Scott,  Blair,  Mackenzie,  Woodhouselee,  Robertson,  Home,  Fergu- 
son and  Dugald  Stewart  were  resident  in  Edinburgh,  and  they  were  all,  along 
with  a host  of  others  less  celebrated,  immortalized  on  the  painter’s  canvas. 
Professional  honors  fell  thick  upon  him.  In  1812  he  was  elected  president 
of  the  Society  of  Artists  in  Edinburgh,  in  1814  Associate  and  in  the  follow- 
ing year,  full  membership  of  the  Royal  Academy.  In  1822  he  was  knighted 
by  George  IV.  and  appointed  his  majesty’s  limner  in  Scotland.  In  his  own 
day,  the  portraits  of  Raeburn  were  excellently  and  voluminously  engraved 
by  the  last  members  of  the  great  school  of  English  mezzotint.  He  had  the 
power  of  producing  a telling  and  forcible  likeness;  his  productions  are  dis- 
tinguished by  breadth  of  effect,  by  admirable  force  of  handling,  by  execution 
of  the  swiftest  and  most  resolute  sort.  Wilkie  has  recorded  that  while 
traveling  in  Spain  and  studying  the  works  of  Velasquez,  the  brush-work  of 
that  master  reminded  him  constantly  of  the  ‘square  touch’  of  Raeburn.” 

— Encyclopedia  Britannica. 

“In  1780,  he  set  up  as  a portrait  painter  in  Edinburgh.  He  soon  won 
high  rank  in  his  art,  was  elected  in  1812  president  of  the  Society  of  Artists  in 
Scotland,  and  in  1813  an  A.  R.  A.  and  in  1815  R.  A.  On  the  visit  of  George 
IV.  to  Edinburgh,  in  1822,  he  was  knighted  and  the  next  year  he  was 
appointed  his  majesty’s  limner  for  Scotland  Nine  of  his  portraits  are  in 
the  National  Gallery,  Edinburgh,  and  four  in  the  National  Portrait  Gallery, 
South  Kensington.”  — Cyclopedia  of  Painters  and  Paintings. 

“Through  life  he  discharged,  with  blameless  attention,  all  the  duties  of 
a good  citizen.  His  pencil  never  kept  him  from  his  place  in  church  on 
Sunday  and  in  the  days  of  trouble  he  was  a zealous  volunteer.  First  and 
last,  among  all  the  children  of  art,  no  one  was  ever  more  widely  respected 
than  Sir  Henry  Raeburn;  and  his  tall,  handsome  figure,  and  fine,  open,  manly 
countenance  will  not  be  forgotten  for  many  a day  in  ‘the  place  which  knew 
him.’  His  merits  as  a portrait  painter  are  very  great.  He  aimed  at  elevation 
and  dignity  of  style;  he  desired  to  bring  out  the  mental  qualities  of  his  sitters, 
and  considered  the  nice  detail  of  the  features  as  unworthy  of  a work  of  art. 
The  distant  view  he  took  presented  nature  to  him  in  its  grandest  expression; 
and  he  caught  the  ruling  passion  of  the  face  by  taking  the  broad  result  and 
not  the  detail.  By  neglecting  the  lesser  features,  all  subordinate  expression 
was  sunk;  it  was  the  application  of  the  historical  style  for  humble  purposes 
and  Raeburn  may  be  accused  of  conferring  intellectual  dignity  upon  heads 
unworthy  of  such  honor.  One  of  his  greatest  triumphs  is  in  his  last  portrait 
of  Sir  Walter  Scott;  the  face  of  this  illustrious  man  is  far  from  expressing 
his  powers  when  you  are  at  his  elbow;  but  the  distance  at  which  Raeburn 
sought  the  character  lent  enchantment  at  once,  and  in  the  light  and  shade  of 
his  masses,  the  author  of  ‘Marmion’  and  ‘Old  Mortality’  appeared.” 

— Cunningham’s  f,The  British  Painters.” 


178 


T.  B.  WALKER  COLLECTION. 


No.  262 — “Portrait  of  James  McGregor.” 

30x28. 

Purchased  by  Thomas  McLane,  of  London,  from  the  McGregor  family. 
A very  realistic  and  beautifully  painted  portrait  of  a man  well  known  in  his 
times,  but  not  a conspicuous  personage,  yet  a member  of  a very  reputable 
family  of  England. 


No.  263 — “The  Duke  of  Sussex.” 

30x25. 

“Augustus  Frederick  Wilhelm  Heinrich,  prince  of  Prussia;  born  1779; 
died  1843.  Was  a nephew  of  Frederick  the  Great.  He  fought  at  Jena  in  1806, 
having  obtained  in  1813  the  rank  of  Lieutenant  General;  he  displayed  skill 
and  courage  at  Dresden,  Kulm  and  Leipsic.” 

This  splendid  portrait  is  characteristic  of  this  noted  Scottish  painter,  and 
considered  among  the  best  of  his  productions. 


No.  2 64 — “Robert  Burns.” 

28x23. 

From  the  collection  of  Mr.  Smith,  author  of  “Catalogue  Raisone.” 
Portrait  was  painted  in  1786. 

Robert  (Bobby)  Burns  was  a celebrated  Scotch  Poet,  born  near  the  town 
of  Ayr,  January  25,  1759.  Died  on  July  21,  1796.  His  person  was  strong 
and  robust,  his  manner  though  rustic  was  not  clownish,  with  a sort  of  digni- 
fied plainness  and  simplicity,  the  effect  of  which  came  from  one’s  knowledge 
of  his  extraordinary  talents.  There  was  a strong  expression  of  sense  and 
shrewdness  in  all  his  lineaments,  the  eye  alone  indicating  the  poetical  charac- 
ter and  temperament.  One  writer,  in  speaking  of  Burns’  eye,  says,  “It  was 
large  and  of  a dark  cast,  which  glowed — I say  literally  glowed — when  he 
spoke  with  feeling  or  interest.  I never  saw  such  another  eye  in  a human 
head,  though  I have  seen  the  most  distinguished  men  of  my  time.”  His 
conversation  expressed  perfect  self-confidence  without  the  slightest  pre- 
sumption. His  power  of  concentration  was  perfectly  marvelous,  in  the  two 
short  lines: 

“The  rank  is  but  the  guinea’s  stamp 
The  man’s  the  gowd  for  a’  that — ” 

he  says  more  than  many  able  men  could  in  an  elaborate  essay.  This  portrait 
was  painted  in  1786,  being  the  same  year  his  first  volume  was  published  at 
Kilmarnock.  This  publication  brought  him  but  20  pounds,  but  it  caused 
the  country  to  murmur  of  him  from  sea  to  sea  and  introduced  him  to  the 
literati  of  Edinburgh. 

No.  265 — “A  Bonnie  Scotch  Lassie.” 

35x27. 

The  portrait  is  that  of  a buxom  daughter  of  the  Scotch  nobility  attired 
in  a simple  home  costume  consisting  of  a gown  of  some  soft  white  material 


INDEX  AND  BIOGRAPHICAL  NOTES. 


179 


with  small  Elizabethan  collar.  The  three-quarter  length  figure  stands  erect 
with  head  turned  looking  over  the  right  shoulder  and  holding  in  her  left 
hand  a hat  that  appears  to  be  the  leader  of  the  style  of  1912.  The  waist  is 
encircled  by  a sash  of  orange  color  silk,  and  a ribbon  of  the  same  color  en- 
circles the  well  poised  head.  Some  truant  locks  of  the  nut  brown  hair 
partially  hide  the  forehead,  beneath  which  look  out  a pair  of  large  brown 
eyes,  which  with  a well  shaped  nose  and  a cupid’s  bow  mouth,  make  up  the 
charms  of  a plain  but  beautifully  intelligent  face.  Sir  Henry  Raeburn’s 
faculty  of  depicting  mind  and  character,  rather  than  a millinery  advertise- 
ment, is  plainly  evident  in  this  truly  charming  portrait. 

RAVESTEYN  (Jan  Van). 

Born  at  the  Hague  about  1572. 

Died  there,  June  21,  1657. 

Dutch  School.  Portrait  Painter. 

Master  of  Hague  Guild,  1615. 

Student  of  Michael  Mierevelt  (?). 

“It  is  uncertain  under  whom  he  studied  painting,  but  probably  under 
Frans  Hals.  Jan  became  one  of  the  greatest  portrait  painters  of  Holland, 
as  is  proved  by  his  two  large  pictures  in  the  hall  of  the  Company  of  Arches 
at  the  Hague  and  a number  of  single  portraits  by  him  there  at  Amster- 
dam and  elsewhere.”  — Painters  and  Their  Works. 

“Painted  assemblies  of  magistrates  and  corporations  with  great  skill 
in  the  manner  of  Mierevelt.”  — Cyclopedia  of  Painters  and  Paintings. 

“His  works  are  evidences  of  his  extraordinary  merit.  He  was  con- 
fessedly superior  to  any  of  his  predecessors  among  the  Flemings,  and 
with  the  exception  of  Rubens  and  Vandyck,  equal  at  least  to  the  best  of 
his  contemporaries.  His  composition  is  good  and  full  of  spirit;  his  atti- 
tudes are  easy  and  have  an  agreeable  variety;  his  lights  and  shadows  are 
judiciously  distributed;  his  coloring  is  remarkably  clear,  and  his  touch 
is  broad  and  firm.  His  knowledge  in  perspective,  particularly  the  aerial, 
was  extensive,  nor  was  there  any  painter  of  his  time  who  showed  more 
skill  in  the  harmonious  mixtures  of  his  colors. 

— Bryan’ s Dictionary  of  Painters  and  Engravers. 


No.  266 — “Mrs.  Richard  Whitehill  ” 

38x29. 

From  the  collection  of  the  Duke  of  Fife. 

The  double  crest  over  the  coat  of  arms  indicates  that  she  was  closely 
allied  with  the  family  of  Wm.  Dedel  who  was  Burgomaster  of  Delft  (Born 
1552,  Died  1641),  and  the  family  of  Frangois  Fogel  (Bird)  who  moved 
into  Amsterdam  in  1585.  As  the  coat  of  arms  carries  no  crown,  it  is 
evident  her  husband  was  neither  a viscount  nor  a noble,  but  likely  a burgo- 
master. The  latin  inscription  on  the  chair  “Modestia  in  Rebus  Novit  Ha- 
bere Modum”  (Modesty  in  affairs  is  known  by  its  manner  or  decorum), 
would  indicate  a person  intimately  connected  with  the  government.  The 


180 


T.  B.  WALKER  COLLECTION. 


great  value  of  the  portrait,  however,  is  as  a work  of  art.  This  painter, 
second  only  to  Rubens  and  Van  Dyck,  has  left  in  this,  ample  proof  of 
his  ability  as  a painter  of  the  first  rank.  The  figure  is  well  drawn,  the 
features  and  flesh  tints  as  natural  as  life,  while  the  drapery  and  the  lace 
approaches  very  nearly  to  perfection. 


RAU  (Emil)  - --  --  --  --  --  Munich 

“Mention  Honorable”  at  the  Royal  Academy,  Berlin,  1886. 

Medal  at  Vienna. 

No.  267 — “The  Return  of  the  Light  Cavalry/’ 

30x38^. 

A spruce  young  cavalryman,  in  all  the  splendor  of  uniform,  is  making 
the  most  of  his  short  stay.  He  has  a girl  on  each  arm,  and  is  laughing  and 
jesting  to  the  height  of  his  bent.  The  green-eyed  serpent,  however,  is 
making  things  dark  for  the  brunette  on  his  left,  judging  from  the  lowering 
look  she  gives  her  laughing  companion.  But  the  blonde  on  his  right 
smiles  up  into  his  face,  laughingly  oblivious  of  the  soldierly  arm  that  en- 
circles her  waist. 

Mr.  J.  H.  Thompson,  of  Minneapolis,  says:  “I  consider  this  one  of 
the  finest  and  most  striking  pictures  in  the  world.  I have  seen  many 
public  and  private  galleries  in  this  country  and  Europe,  but  I never  saw  a 
picture  that  I consider  any  better  than  this  one.” 


RENI  (Guido). 

Born  at  Bologna  in  1575.  Died  at  Bologna  in  1642. 

Pupil  first  of  Denis  Calvart  and  afterwards  of  the  Caracci,  and  favorite 

disciple  of  Ludovico. 

Contemporary  associate  and  competitor  for  supremacy  with  Raphael, 
Correggio,  Parmegiano,  Paul  Veronese,  Caravaggio,  The  Caracci,  Albani, 
Riberi  and  Domenichino. 

“Such  was  the  infatuation  that  prevailed  at  Rome  in  favor  of  the  works 
of  Caravaggio,  that  when  the  Cardinal  Borghese  gave  him  the  commission 
to  paint  his  celebrated  picture  of  the  ‘Crucifixion  of  St.  Peter/  he  expressly 
stipulated  that  it  should  be  painted  in  the  manner  of  that  master.  Without 
departing  from  his  engagement,  Guido  exhibited  in  the  composition  and 
design  a correctness,  dignity  and  grandeur,  far  superior  to  Caravaggio.  He 
now  rose  rapidly  in  public  estimation  and  received  such  flattering  encour- 
agement as  produced  many  enemies. 

“Guido  is  generally  regarded  as  the  most  distinguished  disciple  of  the 
school  of  the  Caracci,  with  the  exception  of  Domenichino,  and  some  even 
give  him  the  preference.  The  Italians  say  of  him  that  ‘grace  and  beauty 
dwelt  upon  his  pencil  to  animate  his  figures.’  The  distinguishing  charac- 
teristics of  his  style  are  elegance  and  grace,  a singular  facility  of  execution, 
a free,  but  delicate  pencil,  an  exquisite  touch,  and  a great  suavity  and  har- 
mony of  coloring.”  — Spooner’s  History  of  the  Fine  Arts. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


181 


“A  prime  master  in  the  Bolognese  school  of  painting,  and  one  of  the 
most  admired  artists  of  the  period  of  incipient  decadence  in  Italy. 

“The  character  of  Guido’s  art  is  so  well  known  as  hardly  to  call  for 
detailed  analysis,  beyond  what  we  have  already  intimated.  His  most  char- 
acteristic style  exhibits  a prepense  ideal,  of  form  rather  than  character, 
with  a slight  mode  of  handling,  and  silvery,  somewhat  cold  color.  In  work- 
ing from  the  nude  he  aimed  at  perfection  of  form,  especially  marked  in  the 
hands  and  feet. 

“His  best  works  have  beauty,  great  amenity,  artistic  feeling,  and  high 
accomplishment  of  manner,  all  alloyed  by  a certain  core  of  commonplace.” 

— Encyclopedia  Britannica. 

“His  first  works  are  painted  in  the  style  of  the  Caracci;  but  he  subse- 
quently adopted  in  some  degree  that  of  Caravaggio.  His  pictures  are  models 
of  grace,  delicacy  and  beauty  of  expression.  He  succeeds  especially  in  pa- 
thetic and  devotional  subjects.” 

— Lippincotfs  Pronouncing  Biographical  Dictionary. 

“After  painting  several  years  in  Bologna,  where  his  pictures  excited 
admiration,  he  went  to  Rome  about  1608  with  his  fellow-pupil  Francesco 
Albani,  and  notwithstanding  the  opposition  of  Caravaggio  and  of  Annibale 
Caracci,  then  at  work  in  the  Palazzo  Farnese,  he  soon  won  an  honorable 
position.  Caravaggio  was  then  the  fashion  in  Rome,  and  when  Cardinal 
Borghese  gave  Guido  an  order  for  the  ‘Crucifixion  of  St.  Peter’  he  coupled 
it  with  the  command  that  it  should  be  in  the  manner  of  that  painter. 
Guido  obeyed,  but  he  gave  his  composition  a grandeur  and  dignity  beyond 
the  powers  of  Caravaggio. 

“Guido’s  productions  vary  much  in  manner  according  to  the  time  of  their 
execution  and  may  be  assigned  to  three  different  periods:  the  first,  marked 
by  strong  contrasts  of  light  and  shade;  the  second  or  transition  period, 
stronger  and  more  natural;  the  third,  grey  tones  and  insipid  sentiment.” 

— Cyclopedia  of  Painters  and  Paintings. 

“No  fresco  in  the  world  is  more  simply  beautiful  than  his  ‘Aurora,’  nor 
any  portrait  more  pathetic  than  the  so-called  ‘Beatrice  Cenci.’ 

“In  his.  early  practice  he  blended  the  precepts  of  the  Eclectics  with  the 
maxims  of  Caravaggio,  the  chief  of  the  Naturalisti,  and  so  modified  both 
by  mingling  them  with  his  own  ideal,  drawn  principally  from  such  antiques 
as  the  Niobe,  that  he  produced  a variety  of  styles;  one,  in  which  he  strove 
to  copy  the  manner  of  Michelangelo  and  the  powerful  shading  of  the 
Neapolitans;  another,  marked  by  warmth  of  color,  heightened  sentiment,  and 
flowing  lines  of  form,  which  comprise  his  finest  efforts;  and  a third  still 
later  and  ‘silvery’  tone,  where  the  picture  seems  washed  in  delicate  and 
airy  but  feeble  grays.”  — Radcliffe’s  Schools  and  Masters  of  Painting. 


No.  268 — “The  Last  Hours  of  Cleopatra.” 

40x34. 

This  painting  was  for  many  years  a conspicuous  piece  in  the  well  known 
collection  of  the  Miles  family,  at  Leigh  Court,  and  of  Sir  Cecil  Miles,  from 
whose  collection  it  was  obtained  at  the  sale  of  those  pictures. 

One  of  the  best  known  art  critics  in  Europe,  Dr.  Waagen,  Director  of  the 
Royal  Gallery  of  Pictures  in  Berlin,  in  1854  published  an  extensive  art  die- 


182 


T.  B.  WALKER  COLLECTION. 


tionary,  entitled  “Art  Treasures  in  Great  Britain.”  In  Vol.  3,  Page  178,  he 
says,  “On  my  first  sojourn  in  England  in  1835,  the  fame  of  the  pictures  be- 
longing to  J.  P.  Miles,  Esq.,  mainly  induced  me  to  visit  that  part  of  the 
country,”  and  in  describing  the  collection,  when  describing  those  in  the 
drawing  room,  he  says,  “Guido  Reni,  Cleopatra.  The  original  of  innumerable 
repetitions.  Extremely  pleasing  in  beauty  of  features,  expression,  clear- 
ness of  coloring  and  melting  execution.”  In  this  it  will  be  seen  that  he 
regards  it  as  undoubtedly  the  genuine  original  of  the  innumerable  repeti- 
tions that  are  common  in  Europe.  The  genuineness  of  this  picture,  as 
far  as  we  can  learn,  has  never  been  questioned  by  the  art  critics  in  Eng- 
land. 


REMBRANDT  (Van  Rijn). 

Born  in  Leyden,  on  the  15th  of  July,  1657. 

Died  October  8th,  1669. 

Studied  under  Swanenburch,  a relative  of  his  family,  and  afterwards 
under  Pieter  Lastmann,  a painter  of  great  merit  and  high  standing. 

One  of  the  greatest  painters  the  world  has  seen.” 

“Rembrandt’s  high  position  in  European  art  rests  on  the  originality 
of  his  mind,  the  power  of  his  imagination,  his  profound  sympathy  with 
his  subjects,  the  boldness  of  his  system  of  light  and  shade,  the  thorough- 
ness of  his  modelling,  his  subtle  color,  and  above  all  on  the  intense  human- 
ity of  the  man.  He  was  great  in  conception  and  in  execution,  a poet  as 
well  as  a painter,  an  idealist  and  also  a realist;  and  this  rare  union  is  the 
secret  of  his  power.  From  his  dramatic  action  and  mastery  of  expression, 
Rembrandt  has  been  well  called  ‘the  Shakespeare  of  Holland.’  ” 

— Encyclopedia  Britannica. 

“In  the  early  part  of  his  life  he  finished  his  pictures  nearly  as  highly 
as  those  of  Gerard  Dow,  but  with  a more  spirited  pencil,  and  a richer  tone 
of  coloring.  He  afterwards  adopted  a greater  breadth  of  light  and  shadow, 
and  a more  commanding  facility  of  touch. 

“He  now  became  the  most  distinguished  and  the  most  employed  artist 
of  his  country,  and  was  not  less  celebrated  for  his  extraordinary  produc- 
tions as  a painter,  than  for  his  ingenious  and  interesting  engravings  which 
were  also  held  in  the  highest  admiration.  He  continued  to  practice  his 
art  with  the  most  flattering  encouragement  and  success,  until  the  year  1674, 
when  he  died  at  Amsterdam,  aged  68.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“His  style  of  painting,  in  the  first  years  of  his  practice,  was  very 
different  from  that  of  his  later  time;  for  his  early  performances  were  fin- 
ished highly,  and  with  a neat  pencil,  resembling  those  of  Mieris;  but  he 
afterwards  assumed  a style  of  coloring  and  handling  as  opposite  to  it  as 
possible— strong,  bold  and  with  a degree  of  astonishing  force,  in  which 
he  has  not  been  excelled  by  any  artist,  though  Eckhout  and  some  of  his 
best  disciples  have  approached  very  near  him. 

“As  he  advanced  in  the  art  he  took  liberties  with  the  pencil,  wrought 
with  all  the  broad  fullness  of  the  brush,  and  left  the  touch  undisturbed;  he 
even  employed  the  stick,  the  palette-knife,  or  his  fingers  accordingly  as 
they  were  most  capable  of  producing  the  effect  he  desired  when  seen  at  a 
proper  distance.”  — Pilkington’s  Dictionary  of  Painters. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


183 


“No  one  has  rivaled  him  in  the  management  of  light  and  shade;  few 
in  color,  in  character,  in  the  expression  of  homely  but  deep  sentiment. 
Absolutely  original,  he  taught  many  able  scholars,  whose  best  efforts  only 
show  how  unapproachable  he  is.”  — Cyclopedia  of  Painters  and  Paintings. 

“He  was  undoubtedly  the  greatest  master  of  chiaroscuro  that  the  world 
has  ever  produced,  and  one  of  the  great  colorists;  in  the  harmony  of  his 
tones  no  other  painter,  with  perhaps  the  exception  of  Titian,  has  equalled 
him.  Although  his  portraits  are  without  dignity  or  embellishment,  they 
exhibit  so  much  nature  and  animation,  such  truth  and  force  of  coloring, 
that  it  is  allowed  he  has  never  been  surpassed  in  this  particular  branch.” 

— Spooner’s  History  of  the  Fine  Arts. 

“His  coloring  is  surprising  and  his  carnations  are  as  true  and  fresh  as 
those  in  the  work  of  Titian  or  any  other  master,  with  this  difference,  that 
the  coloring  of  Titian  will  admit  of  the  nearest  inspection,  whereas  that  of 
Rembrandt  must  be  viewed  from  a convenient  distance  and  then  an  equal 
degree  of  union,  force  and  harmony  may  be  observed  in  both.” 

— Pilkington’s  Dictionary  of  Painters. 

“Rembrandt  excelled  alike  in  every  style,  and  treated  with  equal  felicity 
the  noblest  subjects.  His  works  are  principally  remarkable  for  perfect  com- 
mand of  chiaroscuro,  picturesque  effect  and  truth  to  nature.  He  combined 
the  greatest  freedom  and  grace  of  execution  with  thorough  knowledge  of 
all  the  technical  processes  alike  of  painting,  engraving  and  etching.  Pie 
has  been  justly  called  the  Dutch  Correggio.” 

— D’ Anvers’  Elementary  History  of  Art. 

No.  269 — “Landscape.” 

29x53. 

From  Colnaghi,  London,  who  testifies  to  its  being  a genuine  Rembrandt. 

Although  slightly  darkened  and  considerably  mellowed  by  age,  yet 
shows  to  a remarkable  degree  the  broad  fullness  of  pencil  and  the  bold 
style  of  this  master’s  later  and  more  important  work.  In  the  foreground, 
on  a narrow  strip  of  shore,  two  women  and  a man  are  seen  walking,  while 
ahead  of  them,  a woman  is  riding  a horse,  followed  by  an  old  man  with  a 
staff.  On  the  left,  the  shore  rises  abruptly  to  a great  height.  Gnarled 
trees  which  find  root  in  the  crevices  of  the  rock,  project  out  menacingly 
over  the  narrow  bay,  while  beyond,  three  men  have  kindled  a fire  on  the 
stretch  of  sand  near  the  crumbling  ruins  of  an  old  castle.  Imagination 
readily  turns  the  overhanging  cliff  into  some  horrible  monster  defying  the 
mariner  to  approach  the  rocky  shore,  but  the  whole  sombre  landscape  is 
enlivened  by  the  reflected  glory  of  the  sun’s  diminishing  rays. 

The  highly  finished  painting  appeals  more  readily  to  the  casual  observer, 
but  these  broad  forceful  pictures  of  Rembrandt,  Constable  and  other  great 
masters,  grow  in  interest  and  artistic  beauty  by  a careful  study  of  what  in 
reality  constitutes  a great  painting. 

No.  270 — “Joseph  Accused  by  Potiphar’s  Wife.” 

45^x35^. 

From  collection  General  Bulwer,  Hayden  Hall. 

When  the  Ishmaelites,  who  had  bought  Joseph  from  his  unnatural 


184 


T.  B.  WALKER  COLLECTION, 


brothers,  arrived  in  Egypt,  they  sold  him  to  Potiphar,  Captain  of  Pharaoh’s 
guard.  “And  Joseph  found  grace  in  his  sight,  and  he  served  him,  and  he 
made  him  overseer  over  his  house,  and  all  that  he  had  he  put  into  his 
hand.”  Potiphar’s  wife  fell  in  love  with  Joseph,  but  he  reproved  her  and 
remained  faithful  to  his  master,  although  she  thrust  herself  upon  him  con- 
tinually. Finally  she  took  hold  of  his  coat,  but  he  quickly  slipped  out  of 
the  garment  and  went  about  the  work  he  was  expected  to  perform.  Poti- 
phar’s wife,  however,  used  the  coat  as  evidence  to  her  husband  against 
Joseph,  who  was  then  cast  into  prison. 

This  splendid  painting  shows  her  falsely  accusing  Joseph  to  her  hus- 
band, while  Joseph  in  the  background  protests  his  innocence,  but  without 
avail. 

A remarkable  example  of  the  artist’s  middle  period,  painted  in  1654. 
Encyclopedia  Britanica  says,  “In  the  Joseph  Accused  by  Potiphar’s  Wife 
of  1654,  we  have  great  dramatic  vigor  and  perfect  mastery  of  expression, 
while  the  brilliant  color  and  glowing  effect  of  light  and  shade  attest  his 
strength.”  Potiphar’s  wife  in  the  picture  is  no  doubt  the  portrait  of  Hen- 
drickie  Jaghers,  Rembrandt’s  housekeeper  and  mistress. 


No.  271 — “Rembrandt’s  Portrait  of  Himself.” 

24x2014. 

From  the  collection  of  Conte  Raoul  d’Armand. 

This  splendid  portrait  was  painted  when  Rembrandt  was  about  twenty- 
six  years  of  age,  or  possibly  a year  or  two  earlier,  and  at  or  about  the  same 
date  that  he  painted  the  portrait ‘of  his  sisjter  (shown  in  this  collection). 

The  painting  shows  the  fine  and  delicate  finish  of  his  earlier  pictures, 
besides  showing  him  several  years  younger  than  his  other  portrait  in  this 
collection,  and  much  younger  than  his  portrait  (1840)  that  hangs  in  the 
National  Gallery,  London. 

Rembrandt  was  one  of  the  six  children  of  Herman  Gerritsz,  a miller, 
and  his  wife,  Neeltgen  Willems  van  Suyddtbroek,  daughter  of  a baker. 
They  lived  at  the  time  of  his  birth  in  the  Weddersteeg  (Street  of  the 
Tank),  near  the  White  Poort  (White  Gate)  Amsterdam.  The  home  was 
situated  immediately  back  of  the  mill  of  which  his  father  was  half  owner. 
His  father  had  his  son  christened  simply  “Rembrandt,”  as  the  surname  was 
little  used  in  those  days.  The  affix  Van  Rijin,  Rijn,  or  Ryjn,  was  rather  a 
nick-name  given  to  the  father,  owing  to  the  fact  that  his  old  mill  was  situ- 
ated on  a tributary  of  the  Rhine;  Rijin  or  Ryjn,  signifying  “running  water.” 
Dr.  Bode  says  that  Rembrandt  painted  at  least  fifty  portraits  of  himself. 
In  these  portraits  he  set  himself  to  master  every  form  of  expression;  now 
grave,  now  gay,  at  one  time  with  a smile,  another  with  a frown.  Thus 
he  learned  to  model  the  human  face,  not  from  without,  but  from  the  inner 
man. 


No.  272— “Saskia,  Wife  of  Rembrandt.” 

10x8. 

From  the  collection,  E.  Fischof,  of  Paris. 

Formerly  of  the  Lessor  Collection,  London. 

Fully  guaranteed  by  both  Mr.  Fischof  and  Mr.  Siedelmeyer. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


185 


Saskia  was  the  daughter  of  a Friesland  couple  and  her  maiden  name 
was  Saskia  Van  Uylenborch,  or  Ulenburgh.  At  the  time  of  her  marriage  to 
Rembrandt  at  t’Bildt,  on  June  22nd,  1634,  she  was  twenty-two  years  of  age, 
and  he  about  twenty-seven.  Between  1635  and  1640  a son  and  two  daugh- 
ters had  blessed  the  union,  but  all  died,  the  last  one  in  August  of  the  latter 
year.  In  September,  1641,  their  last  child  (Titus)  was  born  and  Saskia 
died  in  June,  1642.  Then  truly  went  out  the  light  and  inspiration  of  Rem- 
brandt's life. 

Titus  grew  to  manhood  and  in  1668  married  his  cousin  Magdalena, 
but  died  Sept.  4th  of  the  same  year.  Rembrandt  and  Saskia  lived  very 
happily  in  a house  in  Breedstraat,  Amsterdam,  and  after  her  death  Rem- 
brandt and  Titus  continued  to  live  in  the  same  house  for  fourteen  years. 
He  painted  a number  of  her  portraits,  and  these  are  considered  among  the 
finest  of  his  works. 


No.  273 — “Rembrandt’s  Sister.” 

23^x20. 

From  the  collection  of  Comte  de  Polignac. 

Rembrandt  had  two  sisters,  both  younger  than  himself,  while  his  three 
brothers  were  older  than  he.  “One  of  his  sisters  frequently  sat  to  him,  and 
Bode  suggests  that  she  must  have  accompanied  him  to  Amsterdam,  and 
kept  house  for  him  till  he  married.  This  conjecture  rests  on  the  number  of 
portraits  of  the  same  young  woman  painted  in  the  early  years  of  his  stay 
in  Amsterdam,  and  before  he  met  his  bride.” 

He  not  only  painted  many  portraits  of  his  mother,  this  favorite  sister, 
and  of  his  wife,  but  in  many  of  his  group  or  historic  pictures,  a close  in- 
spection will  often  reveal  some  one  or  all  three  of  them  representing  some 
character  in  the  painting.  This  portrait  was  most  likely  painted  prior  to 
his  marriage  to  Saskia  in  1634,  and  about  the  beginning  of  his  middle  and 
best  period. 


No.  274— “The  Burgomaster.” 

30x24. 

From  the  collection  of  Jacob  Anthony  Van  Damm,  of  Dorchert. 

This  was  painted  after  the  manner  of  this  great  master’s  most  attractive 
style.  He  painted  sometimes  very  broadly,  much  more  so  than  this  picture, 
and  again  more  smoothly  and  with  more  finish  but  less  beauty  of  tones 
and  color.  It  is  difficult  to  find  in  the  range  of  all  his  works  a more  beau- 
tiful single  portrait  than  is  found  in  this  picture.  The  tones  are  soft,  refined 
and  most  beautiful  in  color  and  withal  it  is  carefully  and  finely  finished. 


No.  275 — “Portrait  of  a Woman.” 

10x8. 

This  small  portrait  is  from  the  Olden  Barnevelt  Collection — one  that 
was  formed  away  back  in  the  days  of  Rembrandt,  when  it  would  have  been 
no  object  in  putting  that  artist’s  name  upon  the  picture  of  any  artist  who 


186 


T.  B.  WALKER  COLLECTION. 


could  paint  a picture  that  could  be  passed  on  the  public  for  a genuine 
painting  by  Rembrandt. 

It  represents  a plain,  prominent  woman,  perhaps  the  wife  of  a mer- 
chant or  an  alderman;  and,  while  it  does  not  represent  an  especially  brilliant 
or  attractive  woman,  yet  a plain,  wholesome  woman  of  the  times.  In  the 
fine  coloring  and  attractive  art  of  this  painter  who,  during  his  early  years, 
was  looked  upon  as  only  a painter  of  merit,  but  who  has  since  come  to 
take  the  very  front  rank  of  all  the  portrait  colorists  of  the  world. 


No.  276 — “Portrait  of  Rembrandt,  by  Himself.” 

32x26. 

From  collection  of  Colonel  Broderick. 

A genuine  replica  of  painting  now  in  the  Musee  du  Louvre,  Paris. 

He  painted  his  own  portrait  many  times,  and  in  numerous  cases  dupli- 
cated the  same  portrait. 

From  the  collection  of  Colonel  Broderick,  living  in  the  south  of  Eng- 
land, in  whose  family  this  picture  has  been  for  upwards  of  a hundred  years, 
and  was  always  recognized  and  known  as  a genuine  painting  by  Rem- 
brandt. 

The  high  finish  and  tone  of  coloring  would  indicate  this  to  have  been 
painted  toward  the  close  of  what  might  be  termed  his  first  period.  Age 
has  left  its  marks  upon  the  canvas;  yet  after  the  lapse  of  almost  three 
centuries,  the  outlines  are  distinct,  the  coloring  beautiful,  and  the  painting 
a fine  characteristic  example. 


No.  277 — “The  Erring  Woman  Before  Christ.,, 

44%x53 

“The  picture  hung  for  nearly  two  centuries  in  Blenheim  Castle,  in  the 
famous  collection  of  the  Dukes  of  Marlborough,  made  by  the  great  Duke  in 
the  time  of  William  III  and  Queen  Anne.  When  the  collection  was  disposed 
of  in  1885  the  picture  was  passed  into  the  hands  of  Sir  Charles  Robinson, 
keeper  of  her  Majesty’s  pictures,  and  was  re-sold  through  the  Sedelmeyers 
to  Consul  Weber  in  Hamburg.  Through  Dr.  Paul  Mersch,  son-in-law  of 
Mr.  Sedelmeyer,  the  picture  came  to  this  country  (America),  and  last  May 
(1912)  was  sold  to  T.  B.  Walker.” 

The  above  quotation  is  from  an  interview  given  the  New  York  Times 
Nov.  3rd,  1912,  by  Dr.  Carnelis  Hofstede  de  Groot,  the  great  Dutch  art  critic, 
after  a special  trip  from  the  Hague  to  Minneapolis  where  on  Nov.  1st,  he 
expertized  the  painting  as  it  hung  in  this  collection.  This  distinguished 
critic,  whose  writings  on  Rembrandt  are  known  the  whole  art  world  over, 
further  says,  “I  consider  it  one  of  the  most  important  works  of  Rembrandt’s 
middle  period.  It  was  probably  begun  in  1645;  the  scene  was  arranged  and 
the  figures  of  Christ  and  the  Woman  were  painted  at  that  time.  Then,  in 
all  probability,  the  master  left  the  picture  standing  unfinished  in  his  studio 
for  some  ten  years,  until  shortly  before  his  bankruptcy,  when  he  completed  it 
in  his  later,  broader,  freer  style,  in  order  to  raise  money.  This  conflict  of 
two  distinct  styles  in  addition  to  foreign  influence,  explains  the  difficulties  of 
the  critics.  My  defense  of  the  picture  was  based  all  along  on  certain  parts 


INDEX  AND  BIOGRAPHICAL  NOTES. 


187 


which  could  not  have  been  painted  by  any  other  hand  than  that  of  Rem- 
brandt; notably  the  brilliantly  executed  dress  of  the  Woman.  Her  bright  red 
silk  bodice  is  a masterpiece  of  painting,  and  so  is  the  bracelet  of  pearls  about 
her  left  arm.”  Dr.  De  Groot  also  calls  attention  to  the  fact  that  nearly  every 
figure  in  this  painting  appears  in  other  well  known  works  of  this  famous 
painter.  Dr.  W.  R.  Valentine,  curator  of  Decorative  Art  in  the  Metropoli- 
tan Museum  (New  York)  under  whose  supervision  the  painting  was  cleaned, 
agrees  with  Dr.  De  Groot’s  opinions  in  pronouncing  it  one  of  the  master’s 
most  important  works. 

The  scene  is  suggested  by  the  first  eleven  verses  of  the  eighth  chapter 
of  the  Gospel  of  John.  The  scheming  old  Pharisee  backed  up  by  several 
witnesses  of  the  woman’s  guilt,  thought  by  a cunningly  devised  plan  to  entrap 
Christ,  so  after  accusing  the  woman  he  appeals  to  Christ  in  a self  righteous 
gesture,  by  reminding  him  that  “Moses  in  the  law  commanded  that  such 
should  be  stoned,”  then  asks  the  pertinent  question,  “But  what  sayest  thou?” 
As  a transgressor,  the  contrite  woman  expects  no  mercy,  but  could  she  see 
the  sweet  expression  of  pity  on  the  Master’s  face  as  his  great  heart  goes 
out  in  divine  love,  she  would  have  realized  that  one  stood  in  her  presence 
that  was  greater  than  law.  After  writing  with  his  finger  on  the  ground,  a 
few  of  the  many  sins  of  the  Woman’s  accusers,  he  lifted  up  himself  and 
said  unto  them,  “He  that  is  without  sin  among  you,  let  him  cast  the  first 
stone.”  Then  again  stooping  down,  he  continued  to  write  upon  the  ground 
other  unrighteous  acts  which  the  hypocritical  Pharisees  had  committed 
until  conscience  smitten,  they  depart  one  by  one,  without  further  accusa- 
tions. 

There  probably  is  not  another  incident  in  all  the  ministry  of  Christ,  that 
so  graphically  portrays  the  unspeakable  love  of  the  Redeemer,  and  none 
other,  in  which  he  so  forcibly  laid  down  the  divine  principal  of  a boundless 
charity.  Rembrandt  wisely  chose  this  historic  incident  and  clothed  the 
scene  in  a depth  of  human  sentiment  seldom  if  ever  equalled,  making  al- 
together, one  of  his  greatest  works,  not  only  as  a work  of  art,  but  one 
of  the  greatest  pictures  of  all  times,  in  point  of  interest  and  profound 
significance. 


No.  278 — “Titus,  Son  of  Rembrandt.” 

3554x30. 

From  the  collection  of  P.  and  D.  Colnaghi,  and  Miethke  of  Vienna,  and 
from  the  collection  of  Festeties,  Buda  Pest,  Austria,  Hungary. 

Titus,  the  second  son,  and  fourth  and  last  child  of  Rembrandt,  was  born 
at  Amsterdam  in  September  1641.  The  first  three  children  of  Rembrandt, 
Romburtus,  born  1635,  Cornelia,  born  1638,  and  a second  Cornelia,  born 
in  1640,  all  died  in  infancy.  Upon  the  death  of  his  mother  Saskia,  in  June 
1642,  Titus  was  made  her  heir,  but  the  absolute  control  of  her  property 
was  secured  to  Rembrandt,  during  his  life,  provided  he  did  not  remarry.  In 
1649,  Goertje  Dircz,  who  had  been  acting  as  nurse  to  Titus,  brought  an 
action  for  breach  of  promise,  though  without  success.  In  1852,  his  father 
was  in  such  straitened  circumstances  that  he  sold  a pearl  necklace  belong- 
ing to  his  wife  and  for  several  years  following,  borrowed  considerable 
money  on  the  strength  of  the  estate.  May  17th,  1656,  another  guardian 
was  legally  appointed  for  Titus,  and  this  was  followed  by  the  declaration 


188 


T.  B.  WALKER  COLLECTION. 


of  Rembrandt’s  bankruptcy,  and  the  inventorying  of  the  estate.  In  1668, 
Titus  married  his  cousin,  Magdalena,  but  their  happiness  was  brief,  for  on 
Sept.  4,  of  the  same  year,  his  burial  in  the  Westerkerk  is  recorded.  In 
March  1669,  Magdalena  gave  birth  to  a daughter  who  was  christened  Titia, 
in  honor  of  her  deceased  father.  The  portrait  is  a fine  example  of  the  be- 
ginning of  the  last  period  of  the  great  Dutch  master. 


No.  279 — “The  Slav  Prince.” 

11x9. 

The  portrait  is  that  of  a strong  determined  man  of  about  forty  years, 
with  brown  hair  and  eyes,  and  wearing  mustache  and  imperial.  The  figure 
stands  facing  slightly  toward  the  left,  but  as  the  head  is  turned,  we  get  a 
full  front  view  of  the  resolute  face.  The  shapely  well  poised  head  is  sur- 
mounted by  a broad  rolling  turban  with  red  satin  crown.  On  the  front 
of  the  cap  is  a gold  ornament,  set  with  jewels,  and  holding  in  position  the 
emblem  of  the'  order  of  the  three  horse  tails.  His  attire  consists  of  a rich 
red  waistcoat  trimmed  in  gold  braid,  over  which  is  a dark  brown  coat  with 
heavy  fur  collar.  The  hands,  which  probably  more  than  any  other  portion  of 
a portrait  display  the  painter’s  art,  are  not  shown,  but  the  eyes  and  mouth 
clearly  show  the  hand  of  a master,  while  the  whole  composition  is  won- 
derfully drawn,  and  richly  and  charmingly  colored. 


REYNOLDS  (Sir  Joshua). 

Born  at  Plympton,  Devonshire,  England,  July  16,  1723. 

Died,  Feb.  23,  1792. 

Studied  under  Hudson. 

“Sir  Joshua  Reynolds  was,  on  very  many  accounts,  one  of  the  most 
memorable  men  of  his  time.  He  was  the  first  Englishman  who  added  the 
praise  of  the  elegant  arts  to  the  other  glories  of  his  country.  In  taste, 
in  grace,  in  facility,  in  happy  invention,  and  in  the  richness  and  harmony 
of  coloring,  he  was  equal  to  the  great  masters  of  the  renowned  ages.  In 
portrait  he  went  beyond  them;  for  he  communicated  to  that  description  of  the 
art,  in  which  English  artists  are  the  most  engaged,  a variety,  a fancy,  and 
a dignity,  derived  from  the  highest  branches,  which  even  those  who 
professed  them  in  a superior  manner,  did  not  always  preserve,  when  the)’’ 
delineated  individual  nature.  His  portraits  remind  the  spectator  of  the 
invention  of  history  and  the  amenity  of  landscape.  In  painting  portraits, 
he  appeared  not  to  be  raised  upon  that  platform,  but  to  descend  to  it  from 
a higher  sphere.  His  paintings  illustrate  his  lessons,  and  his  lessons  seem 
to  be  derived  from  his  paintings. 

“He  possessed  the  theory  as  perfectly  as  the  practice  of  his  art.  To 
be  such  a painter  he  was  a profound  and  penetrating  philosopher. 

“In  full  affluence  of  foreign  and  domestic  fame,  admired  by  the  expert 
in  art,  and  by  the  learned  in  science;  courted  by  the  great,  caressed  by 
sovereign  powers,  and  celebrated  by  distinguished  poets,  his  native  hu- 
mility, modesty  and  candor  never  forsook  him,  even  on  surprise  or  provo- 
cation; nor  was  the  least  degree  of  arrogance  or  assumption  visible  to 
the  most  scrutinizing  eye,  in  any  part  of  his  conduct  or  discourse.” 

— Bryan's  Dictionary  of  Painters  and  Engravers. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


189 


“Painting  in  England  fell  into  a state  of  barbarism,  till  Reynolds, 
like  the  sun,  threw  splendor  on  the  department  of  portraiture.  Hence  it 
may  be  said  that  the  English  school  may  be  of  his  foundation.  To  the 
grandeur,  truth  and  simplicity  of  Titian,  and  the  daring  strength  of  Rem- 
brandt, he  united  the  chasteness  and  delicacy  of  Van  Dyck.  In  his  repre- 
sentation of  children  he  was  peculiarly  happy  and  indeed  unrivalled.  His 
female  portraits  are  designed  with  exquisite  taste  and  elegance.  His  works 
in  history  are  comparatively  few;  but  those  few  are  precious  and  show  what 
he  was  capable  of  performing.  The  coloring  of  Sir  Joshua  has  been  the 
subject  of  the  highest  admiration.  It  was  observed  by  Gainsborough  that 
Sir  Joshua’s  pictures  in  their  most  decayed  state,  were  better  than  those  of 
any  other  artist  of  his  time  in  their  best.  On  the  26th  of  April,  1769,  was 
the  first  exhibition  of  the  Royal  Academy  and  from  that  time  to  the 
year  1790,  Sir  Joshua  sent  in  no  less  than  244  pictures.  On  the  institution 
of  the  Royal  Academy  in  1769,  the  presidency  was  unanimously  conferred 
on  Reynolds,  who  at  the  same  time  received  the  honor  of  knighthood.” 

— Pilkington’s  Dictionary  of  Painters. 

“He  had  a deep  sense  of  character,  great  skill  in  light  and  shade,  a 
graceful  softness  and  an  alluring  sweetness,  such  as  none  have  ever  sur- 
passed. Never  before  had  a painter  exercised  his  art  with  such  delicate 
perception  and  profound  understanding,  his  models  saw  their  very  thoughts 
revealed  on  his  canvas  and  their  individuality  fully  preserved.  Thej’-  saw 
themselves  by  the  magic  of  his  art  lifted  above  the  commonplace  into 
a realm  of  poetry  and  grace.  * * * The  grace  and  ease  of  his  compo- 
sitions were  a lesson  for  the  living  to  study.  * * * He  sought  to  restore 
nature  to  the  look^  of  his  sitters.  * * * His  works  diffused  a love  of 
elegance  and  united  with  poetry  in  softening  the  asperities  of  nature.  * * * 
His  cold  stateliness  of  character  and  his  honorable  pride  of  art,  gave 
dignity  to  his  profession.  Of  historical  and  poetic  subjects  he  painted 
upwards  of  a hundred  and  thirty.  Those  are  chiefly  in  England.” 

Cunningham's  British  Painters. 

“In  1768,  on  the  establishment  of  the  Royal  Academy,  he  was  chosen 
its  first  president,  and  was  knighted  by  George  III.  On  the  death  of  Allan 
Ramsay  (1784),  he  became  principal  painter  in  ordinary  to  the  king.  He 
exhibited  245  works  at  the  Royal  Academy,  his  contributions  averaging 
eleven  annually.  Ruskin  calls  him  ‘The  Prince  of  Portrait  Painters’  and 
‘One  of  the  Seven  Colorists  of  the  World,’  placing  him  with  Titian,  Giorgione, 
Correggio,  Tintoretto,  Veronese  and  Turner.” ' 

— Cyclopedia  of  Painters  and  Paintings. 

No.  280— “The  Banished  Lord.,, 

30^x29 

From  the  collection  of  the  Earl  of  Egremont. 

This  is  an  original  painting  by  Reynolds,  of  which  another  edition  or 
replica  is  in  the  National  Gallery.  It  was  quite  a favorite  subject  of  this 
painter,  of  which  the  first  one  was  so  favorably  received  that  at  least  two 
others  were  afterwards  painted.  It  was  one  of  the  favorite  pictures  in  the 
collection  of  the  Earl  of  Egremont  in  whose  gallery  it  hung  for  many  years. 

“Mr.  Blair  Hough,  art  writer,  New  York  City,  says  of  this  picture, 
“Any  artist  that  could  produce  this  one  portrait  would  by  this  alone  bring 
himself  into  the  class  of  the  world’s  great  masters  of  painting.” 


190 


T.  B.  WALKER  COLLECTION. 


No.  281 — “Portrait  of  Mrs.  Edmund  Burke.” 

33x27^. 

From  the  collection  of  Viscount  Powerscourt. 

Mrs.  Jane  Burke  was  the  daughter  of  Dr.  Nugent,  of  Bath.  She  was 
married  to  Edmund  Burke,  the  noted  English  statesman  and  orator,  in  1757. 
The  union  seems  to  have  been  a singularly  happy  one,  since  Mr.  Burke 
was  accustomed  to  say,  “Every  care  vanished  the  moment  he  entered 
under  his  own  roof.” 

This  has  been  pronounced  the  finest  portrait  painting  in  America. 


No.  282 — “Miss  Damer.” 

29x24. 

From  collection  of  Mr.  R.  G.  Davis,  manager  Bank  of  Africa,  Walmer  House, 

Catford,  Kent. 

Granddaughter  of  William  Henry  Dawson.  M.  P.  for  Portarlington  and 
for  Queens  County,  or  Baron  Dawson,  of  Dawson’s  Court,  Queens  County 
(peerage  of  Ireland),  1770  to  1779.  The  family  name  was  Dawson-Damar. 
Her  father,  John  Dawson-Damar,  was  second  Viscount  or  Earl  of  Portar- 
lington, 1779  to  1785,  and  was  the  only  Damar  contemporary  with  Sir  Joshua 
Reynolds. 


No.  283— “Portrait  of  Himself.” 

29^x24^. 

Joshua,  the  third  son  of  Rev.  Samuel  Reynolds,  of  Devon,  was  born 
on  Thursday,  July  16th,  1723.  He  was  named  for  his  great  grandfather,  and 
it  was  his  father’s  intention  that  Joshua  should  become  a physician.  His 
brothers  and  sisters  were  all  quite  apt  at  drawing,  but  pencils  and  paper 
being  really  luxuries  in  the  modest  home,  the  children  were  permitted  to 
cover  the  walls  of  a long  hallway  through  the  house  with  their  sketches 
executed  with  charred  sticks  of  wood.  In  those  days  Joshua  was  so  pal- 
pably inefficient  that  the  other  children  nicknamed  him  the  clown.  It  was 
not  long,  however,  until  his  drawings  began  to  attract  the  attention  of  his 
playmates,  then  his  father  and  finally  a Mr.  Graunch,  who  not  only  induced 
his  father  to  send  Joshua  to  London  to  study  painting  under  Hudson,  but 
befriended  him  financially  and  became  his  life-long  friend.  By  the  time  of 
his  father’s  death,  in  1846,  his  income  from  portrait  work  was  sufficient  to 
keep  the  wolf  from  the  door  and  enable  him  to  continue  his  studies  in 
London. 

When  grown  to  full  manhood,  Joshua  was  five  foot  six  inches  in  height, 
not  really  corpulent,  but  rather  so  inclined,  no  doubt  from  lack  of  proper 
exercise.  His  complexion  was  florid,  features  rather  rounded  or  blunt,  but 
with  a lively,  pleasing  expression.  His  eyes  were  never  strong,  and  in 
the  Streatham  portrait  in  the  National  Gallery,  the  eyes  are  shaded  by  the 
uplifted  left  hand,  while  in  the  King’s  portrait,  he  wears  a pair  of  large 
rimmed  spectacles. 

During  his  voyage  to  Rome,  in  1749,  he  stopped  at  Minoca,  and  while 
out  riding,  his  horse  fell  over  a precipice  and  Reynolds  sustained  an  injury 


INDEX  AND  BIOGRAPHICAL  NOTES. 


191 


to  the  upper  lip  which  shows  in  this  and  all  subsequent  portraits.  During 
his  two  years’  residence  in  Rome,  he  sustained  a severe  cold  at  the  Vati- 
can while  studying  the  works  of  Raphael,  which  permanently  injured  his 
hearing.  With  all  these  defects,  however,  Joshua  was  ever  cheerful  and 
companionable,  rich  in  courtesy  and  good  nature,  and  in  all  those  sterling 
qualities  which  endear  men  to  their  fellows.  Sir  Joshua  had  a host  of 
friends,  and  ever  retained  them.  He  never  married  but  was  a great  enter- 
tainer and  a prince  of  good  fellows.  Thackeray  says  of  him,  “of  all  the 
polite  men  of  that  age,  Joshua  Reynolds  was  the  finest  gentleman.”  He 
painted  quite  a number  of  portraits  of  himself,  each  painted  expressly  for, 
and  presented  to,  some  admiring  friend. 


RICHARDS  (William  Trost). 

Born  in  Philadelphia,  Pa.,  Nov.  14th,  1833.  * 

4 $ shrv  \ 

“Landscape  and  marine  painter,  pupil  of  Paul  Wiles,  a German  artist  in 
Philadelphia.  In  1855  visited  Florence,  in  1866-7,  France  and  Germany.  In 
1878-79-80,  London  and  the  coast  of  England.  Exhibited  at  Royal  Academy, 
London,  in  1869,  and  1878-81  Paris  Salon,  1873  Honorary  Member  of  National 
Academy. 

Medals,  Philadelphia  1876;  Temple  1885.” 

— Cyclopedia  of  Painters  and  Paintings. 

No.  284— “The  Falls.” 

28x33. 

A landscape  which  not  only  does  honor  to  the  painter,  but  reflects 
credit  upon  American  Art  generally. 

A mountain  stream  in  its  mad  career, 

Comes  rushing  down  through  the  canyon’s  walls; 

From  snow  capped  peak,  by  forests  drear, 

Eddying  and  foaming  as  it  nears  The  Falls. 

As  the  waters  leap  to  the  glen  below, 

With  thundering  roar,  and  deafening  din; 

In  fancy  the  moans  and  murmurs  grow, 

Like  the  cry  of  a soul,  thaj(|~is  lost  in  sin. 

But  the  mists  rise  up  as  repentant  tears, 

For  the  angry  mood,  like  an  iron  fist; 

Then,  “a  small  voice,”  echoes  down  the  years, 

And  the  “bow  of  promise”  adorns  the  mist. 

So  the  stream  flows  peacefully  on  and  on. 

Hence,  from  tempting  snares  set  free; 

’Till  days  are  past,  and  years  are  gone, 

And  identity’s  lost  in  the  boundless  sea. 


RIX  (Julian). 

An  American  artist,  whose  works,  exhibited  at  the  American  Art  Union, 
at  the  National  Academy  in  1883,  and  at  the  San  Francisco  Art  Association 


192 


T.  B.  WALKER  COLLECTION. 


(1883),  have  attracted  general  attention.  His  pictures  are  finely  composed, 
well  drawn,  and  full  of  warm  color  and  verna1  freshness. 


No.  285 — “The  Winding  Brook.” 

14x17. 

A soft,  harmonious  landscape,  representative  of  the  delicate  tone  and 
finish  of  this  artist.  A picture  that  may  be  hung  with  credit  by  the  side 
of  a Rousseau  or  a Corot. 

A sparkling  brook,  all  but  hidden  by  the  overhanging  grass  fringing  its 
meandering  shores.  On  the  left  some  splendid  trees,  while  farther  away 
on  the  right  is  the  border  of  the  woods. 


No.  286 — “A  Scene  on  the  Delaware.” 

33x42. 

One  of  the  most  silvery  and  pearl-like  paintings  ever  produced  by  an 
American  painter.  Refined  in  color,  tone  and  finish.  A picture  in  strong 
contrast  with  the  characteristic  paintings  by  this  foremost  of  our  young 
American  painters.  It  represents  a shower  passing  over  the  hills  on  the 
opposite  side  of  the  river,  with  a bright  light  coming  in  at  the  left,  darken- 
ing the  shadows  of  the  rain  that  has  just  passed  over  the  hilltops  at 
the  center  of  the  picture  and  reaching  from  there  to  the  right  of  the  canvas. 

President  Shermer,  of  Cornell  University,  regards  this  as  one  of  the 
most  beautiful  of  all  modern  pictures. 


RIGAUD  (Hyacinthe). 

Born  in  Perpigan,  July  18,  1659.  Died  in  Paris,  Dec.  29.  1743. 

“French  school;  history  and  portrait  painter,  pupil  of  Pezet,  Verdier  and 
Ranc.”  — Cyclopedia  of  Painters  and  Paintings. 

“In  1681  he  went  to  Paris,  and  the  year  following  gained  the  prize 
at  the  academy.”  — Pilkington’s  Dictionary  of  Painters. 

“By  the  advice  of  Charles  LeBrun,  who  discovered  in  him  a decided 
talent  for  portrait  painting,  he  abandoned  his  project  of  visiting  Italy,  and 
applied  himself  particularly  to  that  ^department.  Having  seen  some  por- 
traits by  Van  Dyck  at  Paris,  he  was  so  much  struck  with  the  admirable 
style  of  that  painter,  that  he  ever  afterwards  made  him  the  model  of  his 
imitation.  The  success  of  Rigaud  as  a portrait  painter  was  most  brilliant. 

“Hyacinthe  Rigaud  is  considered  one  of  the  ablest  portrait  painters 
of  the  French  school.  His  heads  are  full  of  character  and  expression, 
his  coloring  more  chaste  than  is  usual  in  the  artists  of  this  country,  and  his 
touch  bold  and  free.”  — Bryan’s  Dictionary  of  Painters  and  Engravers. 

“He  devoted  his  attention  exclusively  to  portraits.  In  that  department 
of  art  he  rose  to  the  highest  rank,  even  the  studied  nobleness  of  the  atti- 
tude of  the  persons  he  represented  being  in  accordance  with  the  manners 
of  his  time.  His  portraits  are  said  to  have  been  excellent  likenesses.  Some 
of  them,  such  as  the  portrait  of  Bossuet,  now  in  the  Louvre,  and  engraved  by 
Drevet,  will  always  do  honor  to  the  French  school  of  painting.” 

— James’s  Painters  and  Their  Works. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


193 


Ay 


“Hyacinthe  Rigaud  has  been  called  ‘the  French  Van  Dyck,’  and  the 
greatest  celebrities  of  his  time  sat  to  him.” 

— D;  Anvers’  Elementary  History  of  Art. 

“Hyacinthe  Rigaud,  the  so-called  ‘Van  Dyck  of  France/  was  remark- 
able, like  that  master,  for  the  emphatic  air  of  dignity  which  he  imparted  to 
his  sitters,  and  for  his  extraordinary  power  in  divining  and  giving  expres- 
sion to  the  special  character  of  each.  In  particular,  the  hand,  almost  as 
expressive  a feature  in  portrait  as  the  face,  was  treated  by  him  with  won- 
derful variety  and  insight.  His  greatest  merit,  however,  was  truth  to  nature. 
His  portraits  of  women  were  more  natural  than  those  of  men.  Scarcely  any 
artist  had  a more  distinguished  or  varied  array  of  sitters.  Princes  and 
prelates,  artists  and  literary  men,  all  posed  in  turn  for  him.” 

— Spanish  and  French  Painters. 

“He  painted  Philip  V.  of  Spain  in  1700  and  Louis  XIV.  in  1701,  soon  after 
which  he  received  the  title  of  court  painter.  His  touch  is  bold  and  free  and 
his  design  correct.”  — Lippincott’s  Pronouncing  Biographical  Dictionary. 

“Rigaud  was  honored  with  the  Order  of  St.  Michael;  was  appointed  a 
professor,  and  afterwards  director  of  the  French  Academy.” 

— Spooner’s  History  of  the  Fine  Arts. 


No.  287 — “Portrait  of  Madame  de  Polignac.” 

29x24. 

She  was  the  Duchess  of  Polignac  and  a great  favorite  of  Marie  An- 
toinette. The  Polignacs  were  an  ancient  French  family  and  had  their  seat 
in  the  Gevennes  near  Puy-en  Valley  (Haute-Loire).  The  duke,  her  hus- 
band’s father,  was  Armand  XVI.  Marquis  de  Polignae.  The  picture  is  a 
fine  example  of  the  French  school  painted  by  one  who  has  been  called  “The 
French  Van  Dyck,”  as  his  portraits  were  true  likenesses  as  well  as  being 
finely  colored  and  beautifully  finished. 


ROMNEY  (George). 

Born  at  Dalton-le-Furness,  Lancashire,  England,  Dec.  15,  1734. 

Died  at  Kendal,  November  15,  1802. 

Studied  under  Steele. 

“In  1762  and  in  1765,  he  gained  premiums  from  the  Society  of  Arts, 
for  his  pictures  of  the  Death  of  Wolfe  and  the  Death  of  King  Edward.  In 
1773  he  visited  Italy,  and  after  a two  years’  absence  established  himself 
in  London,  where,  until  1797,  when  he  removed  to  Hampstead,  he  divided 
public  patronage  with  Reynolds  and  Gainsborough.  He  painted  with  few 
colors,  with  great  breadth  of  treatment,  and  in  some  instances  with  ex- 
ceeding grace  and  sentiment.”  — Cyclopedia  of  Painters  and  Paintings. 

“Grandeur  and  simplicity  became  the  principal  objects  of  his  ambition. 
He  perceived  these  qualities  distinctly  and  employed  them  judiciously, 
even  whilst  imitating  nature  in  his  occupation  of  portrait  painting.  His 
style  of  coloring  was  simple  and  broad.  In  that  of  his  flesh,  he  was  very 
successful,  exhibiting  a great  variety  of  complexion,  with  much  warmth 


194 


T.  B.  WALKER  COLLECTION. 


and  richness.  The  executive  part  of  his  works  was  free  and  precise,  with- 
out being  trifling  and  minute,  possessing  great  simplicity,  and  exhibiting 
a purity  of  feeling  consonant  with  the  st3de  of  his  compositions.  He  aimed 
at  the  best  of  all  principles  in  the  imitation  of  nature,  that  of  generalizing 
its  effects;  and  he  even  carried  it  so  far  as  to  subject  himself  to  the  charge 
of  negligence  in  the  completion  of  his  forms;  but  the  truth  of  his  imitation 
is  sufficiently  perfect  to  satisfy  those  who  regard  nature  systematically 
and  not  individually  or  too  minutely.”  — Pilkington’s  Dictionary  of  Painters. 

“He  was  more  employed  in  painting  portraits  than  historical  subjects, 
and  his  pictures  were  esteemed  inferior  to  those  of  few  artists  of  his  time.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

No.  288 — “The  Hon.  Mrs.  Henry  F3mes  Chinton-Pelham  and 

Child.” 

32x27 

Her  Christian  name  was  Catherine.  * * * She  was  the  daughter 
and  heiress  of  the  Rt.  Rev.  Henry  Pelham.  She  married  Henry  Faynes  Clin- 
ton, K.  G.  P.  S.,  9th  Earl  of  Newcastle.  He  was  a gentleman  of  the  bedcham- 
ber, Lord  Lieutenant  of  Cambridge,  High  Steward  of  Westminster,  and 
Comptroller  of  Customs  of  the  port  of  London.  Through  the  death  of 
her  uncle  Thomas  Pelham-Hollis,  Duke  of  Newcastle,  in  1768,  her  husband 
inherited  the  Dukedom,  and  by  royal  decree  assumed  the  additional  sur- 
name of  Pelham.  The  earl  died  in  1794  and  was  succeeded  by  his  son 
Thomas. 

The  delicate  handling  of  colors  and  the  artistic  drawing  show  the 
hand  of  the  master  portrait  painter. 

No.  289 — “Lady  Hester  Amelia  de  Burgh.” 

29%x26. 

John  Thomas  de  Burgh  was  the  13th  Earl  of  Clanicarde.  He  was  a 
general  in  the  army  and  governor  of  the  County  Galway.  Created  Earl 
of  Clanicarde  (peerage  of  Ireland)  A.  D.  1800.  He  died  in  1808  and  was 
succeeded  by  his  son  Ulick  John  de  Burgh.  This  portrait  of  Lady  Hester 
Amelia  was  painted  about  1800  or  1801,  onl3r  a year  or  two  before  the 
death  of  Romney  at  Kendal.  An  excellent  example  of  Romney’s  splendid 
portraiture.  The  simplicity  of  his  coloring,  the  soft  tint  of  his  flesh,  and 
the  dignity  and  easy  grace,  are  pronounced  characteristics  of  his  work. 


No.  290 — “Duke  of  Newcastle.” 

31x20 14- 

Henry  Fynes  Clinton-Pelham,  K.  C.  P.  S.  Ninth  Earl  of  Newcastle.  He 
inherited  the  title  of  duke  upon  the  death  of  his  wife’s  uncle  and  by  royal 
decree,  assumed  the  additional  surname  of  Pelham.  He  died  in  1794. 
Another  of  Romney’s  pleasing  portraits. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


195 


No.  291 — “Mrs.  Carnock 

49x39. 

The  Romney  Catalogue  Raisonne  by  Humphry  Ward  and  W.  Roberts 
on  page  28  thus  describes  this  fine  painting:  “Married  first  John  Carnock, 

Esq.,  and  secondly  at  Rossie  Castle  on  Jan.  4,  1807,  Thomas  Hamilton,  Esq., 
of  Gilkerzdeugh.  (Scots  Magazine  Vol.  69,  Page  156).  Nearly  whole  figure 
sitting  in  a landscape  beneath  a tree,  in  a white  dress  cut  low,  with  short 
sleeves,  and  white  turban.  Right  arm  leaning  on  pedestal,  with  index  finger 
resting  against  face;  left  arm  in  lap  and  finger  resting  on  pedestal.  The 
eyes  are  looking  directly  at  the  spectator.  Long  curls  hanging  on  her 
shoulders.  Canvas  49^4x39.  Sittings,  etc.  1795;  Aug.  13,  19,  20,  22,  25  and 
31;  Sept.  2,  3,  7;  Oct.  9 paid  in  full  by  herself,  73 £,  10s,  and  sent  to  Ham- 
burg.” The  easy  natural  pose,  the  splendid  drawing,  the  shell  like  transpar- 
ency of  the  skin,  the  soft  graceful  folds  of  the  drapery  all  set  in  pleasing 
environments,  make  of  this  painting  one  of  Romney’s  most  elegant  por^- 
traits. 

ROBIE  (Jean  Baptitste).  - - Paris 

Born  at  Brussels,  1821. 

Gold  Medal,  Brussels,  1848. 

Medals  at  Paris,  1851  and  1863. 

Gold  Medal,  Hague,  1861. 

Officer  of  the  Legion  of  Honor,  1869. 


No.  292 — “Roses  and  Objets  de  Art.” 

27x16^. 

This  is  a capital  example  of  this  modern  master  in  the  field  of  still  life. 
They  are  great  creamy  roses  that  seem  to  shake  and  quiver  on  their  stems, 
and  soft,  dark  ones  that  almost  melt  in  their  own  richness.  They  bow  on 
their  stems  as  though  scarcely  able  to  sustain  their  weight.  Rich  masses  of 
color  that  are  never'  equaled  except  by  nature. 


ROSIER  (Jean  Guillaume). 

Born  in  Belgium,  1858. 

Studied  under  Cabanel,  Gerome,  and  Alma  Tadema. 

Chief  director  of  the  Academy  of  Malines,  with  its  fifteen  hundred  art 

students. 

Received  a gold  medal  at  Antwerp,  1888;  a medal  at  Cologne,  1889,  and 
also  one  in  1890;  a gold  medal  at  Munich,  1892;  a medal  of  the  first  class 
(gold),  at  Antwerp,  1894,  for  this  picture.  Also  a gold  medal  at  Brussels 
in  1897,  and  a gold  medal  at  Paris  in  1897.  Grand  Prize  of  Rome  in  1883, 
and  a medal  at  London.  Is  Knight  of  the  Order  of  Leopold.  One  of  the 
foremost  artists  of  the  times. 


m 


T.  B.  WALKER  COLLECTION. 


No.  293 — “King  Charles  I After  the  Battle  of  Marston  Moor.” 

50x74. 

For  this  picture  Rosier  received  the  medal  of  honor  at  Antwerp  in 
1894.  It  represents  King  Charles  in  a castle  near  the  battlefield  of  Marston 
Moore,  where,  after  defeating  Cromwell,  as  was  supposed,  and  routing 
his  army,  King  Charles  with  his  staff  retired  to  formulate  plans  for  future 
movements.  Soon  an  officer  entered  and  informed  him  that  the  tide  of 
battle  had  turned,  and  his  army  was  completely  routed  and  practically  de- 
stroyed. 

The  news  has  completely  overpowered  and  paralyzed  him,  and  he  sits 
with  the  most  dejected  look  that  it  is  possible  to  depict  on  canvas.  Next, 
on  the  right,  is  Prince  Rupert,  and  directly  opposite  is  Capt.  Stanley, 
and  behind  him  the  Minister  Oliver.  The  officer  who  brings  the  news 
stands  halting  at  the  doorway  as  though  waiting  to  see  if  any  orders 
are  to  be  given  him. 

One  of  the  most  interesting  and  realistic  pictures  that  any  artist  has 
ever  produced. 


ROUSSEAU  (Theodore).  ---------  Paris 

Born  at  Paris,  1812. 

Pupil  of  Guillon-Lethiere. 

First  exhibited  in  the  Salon,  1834. 


Medals,  1834,  1840  and  1855. 

Legion  of  Honor,  1852. 

One  of  the  eight  Grand  Medals  of  Honor  (Exposition  Universelle),  Paris. 

1867. 

Died^  1867. 

Diploma  to  the  Memory  of  Deceased  Artists,  1868. 


“Among  the  great  French  landscape  painters  who  have  not  only  guided 
the  national  art  back  again  to  nature,  but  whose  influence  was  to  be  so 
important  over  the  foreign  schools,  Theodore  Rousseau  occupies  the  high- 
est place,  because  he  is  the  most  perfect  master.  The  grand  aspects  of  land- 
scape, and  its  tenderness,  are  equally  familiar  to  him.  He  renders  with  the 
same  mastery  the  smiles  of  creation  and  its  terrors,  the  broad,  open 
plain  and  mysterious  forests,  the  limpid,  sun-bright  sky,  or  the  heaping  of 
the  clouds  put  to  flight  by  storms,  the  terrible  aspects  of  landscape  or  those 
replete  with  grace.  He  has  understood  all,  rendered  all,  with  equal  genius. 
The  great  contemporary  painters  have  each  a particular  stamp — Corot  paint- 
ing the  grace,  Millet  the  hidden  voice,  Jules  Dupre  the  majestic  strength. 
Theodore  Rousseau  has  been  by  turns  as  much  a poet  as  Corot,  as  melan- 
choly as  Millet.  He  is  the  most  complete,  for  he  embraces  landscape  art 
absolutely.”  — -Extracts  from  Notes  Sur  les  Cent-d'CEuvres , by  A.  Wolft . 


No.  294 — “Landscape  (Sunset).” 

8x10. 


There  is  a pensive  charm  about  Rousseau’s  twilights  and  sunsets 


INDEX  AND  BIOGRAPHICAL  NOTES. 


197 


that  is  especially  interesting.  The  sun  is  setting,  and  the  dark  trees 
that  surround  the  little  lake,  loom  grandly  against  the  ruddy  glare  re- 
flected from  the  gorgeous  red  and  purple  garment  of  the  sky.  The  little 
lake  is  aglow  with  light,  the  sky  formation  is  striking  and  true,  and  the 
variety  of  color  very  bold  and  effective.  Altogether,  this  is  a charming 
little  picture. 


No.  295 — “Fishermen’s  Homes  in  Finistere.” 

12x17. 

Another  of  Rousseau’s  beautiful  compositions.  In  the  foreground  is  a 
small  pool  or  pond.  To  the  left,  on  a high  bank,  are  a cluster  of  fisher- 
men’s houses,  surrounded  by  tall,  stately  trees,  whose  shadows  are  vividly 
reflected  in  the  tranquil  waters  of  the  pond.  To  the  right,  the  land  recedes 
in  a gentle  incline,  forming  a knoll,  on  the  top  of  which  some  graceful 
trees  balance  off  the  picture.  Through  the  center  distance  the  plain  fades 
away  in  perspective  as  far  as  the  horizon.  Far  in  the  distance  a man 
and  woman  are  seen  returning  from  the  fields.  Over  the  landscape  the 
sky  is  full  of  clouds,  broken  into  fleecy  masses. 


No.  296 — “Landscape  (Autumn).” 

10x13. 

Another  fine  example  of  this  great  artist.  In  the  foreground  a little 
marshy  pool,  such  as  Rousseau  was  so  fond  of  painting.  Surrounding  the 
pool  is  dense  grass  and  much  tall  shrubbery  in  autumnal  hues.  To  the 
left  the  ground  rises,  forming  a little  eminence,  on  the  side  of  which  are  some 
graceful  trees,  well  grouped.  To  the  right  other  fine  trees  raise  their  tops 
under  the  dark  and  lowering  clouds.  Through  the  opening  between  the  trees 
on  each  side  of  the  picture  a hazy  light  brightens  up  the  distant  fields. 

There  is  so  much  power  and  deep  truth  in  Rousseau’s  pictures,  so 
much  simplicity,  boldness,  and  sincerity  in  his  manner  of  seeing  and 
painting  nature,  that,  by  this  alone,  they  have  become  great  works  of  art. 


No.  29 7 — “At  the  Rising  of  the  Sun.” 

11x13. 

The  first  reflection  from  the  rising  sun  is  seen  in  cloud  and  sky.  In 
the  foreground  is  a rocky  meadow  with  pools  of  clear  water  all  but  hid  by 
the  reeds  and  rushes.  Beyond  on  the  right,  is  one  of  the  artist’s  grand 
spreading  trees,  while  on  the  left  is  the  quaint  urban  cottage  surrounded 
by  vines  and  shrubs.  The  milkmaid  sits  upon  a moss-covered  rock  watch- 
ing the  cow  just  turned  out  to  pasture.  A beautiful  picture. 


No.  298— “A  Corner  of  the  Meadow.” 

7x9. 

Through  the  clear  pleasant  atmosphere  of  a June  morning  one  sees 
the  broad  meadows  stretching  away  to  the  line  of  low  blue  hills  in  the 


198 


T.  B.  WALKER  COLLECTION. 


dim  distance.  All  up  and  down  the  broad  valley,  the  expanse  of  green  is 
relieved  by  the  darker  foliage  of  oakes  and  willows  which  grow  here  and 
there  on  the  higher  points  of  ground.  A lone  cow  has  wandered  to  the 
corner  of  the  meadow  where  she  slakes  her  thirst  from  a spring  of  clear 
water  which  here  forms  a crystal  pool  ere  it  starts  on  its  meandering  course 
through  the  valley  beyond.  A perfect  little  gem,  somewhat  after  the  style 
of  Diaz. 


RUBENS  (Peter  Paul). 

Born  in  Cologne  in  1577.  Died  in  Antwerp  in  1640. 

Studied  under  Verhaecht  and  Adam  Van  Oort,  and  for  four  years  with 

Otto  Van  Veen. 

He  was  a pre-eminent  painter,  accomplished  scholar  and  skillful  diplomat. 

“Rubens  was  undoubtedly  one  of  the  most  original  painters  that  ever 
lived,  and  his  subjects  were  unlimited.  He  painted  history,  portraits,  land- 
scapes, animals,  fruit  and  flowers  with  such  excellence  that  it  is  difficult 
to  decide  in  which  he  most  excelled.  He  possessed  inexhaustible  fer- 
tility of  invention,  never  copying  himself  or  any  other  master.  His  genius 
was  adapted  to  the  grandest  compositions  and  his  powers  appear  to 
have  expanded  in  proportion  to  the  scale  on  which  they  were  called  to 
act.  He  did  not,  like  Raffaelle,  posses  that  mild  inspiration  of  sentiment 
which  manifests  itself  in  dignified  and  noble,  or  graceful  and  beautiful 
forms,  but  he  was  animated  with  a poetic  fire  that  displays  itself  in  sur- 
prising and  astonishing  effects.  He  is  generally  allowed  to  have  carried  the 
art  of  coloring  to  its  highest  excellence.” 

— Spooner’s  History  of  the  Fine  Arts. 

“The  fame  of  Rubens  had  long  been  established  at  the  court  of 
France  when  he  was  commissioned  by  Mary  Medicis  in  1620  to  ornament 
the  gallery  of  the  Palace  of  the  Luxembourg.” 

— Bryan’s  Dictionary  of  Painters. 

“He  brought  about  a complete  reform  in  Flemish  painting-.  Gifted 
with  a powerful  original  genius,  Rubens  threw  into  his  work  something  of 
the  fire  and  energy  which  we  have  noticed  in  those  of  Michelangelo's;  his 
mastery  of  coloring,  his  brilliant  execution,  fertility  of  imagination,  and 
vitality  of  expression,  are  acknowledged  by  all.” 

—D’ Anvers’  Elementary  History  of  Art. 

No.  299 — “Rubens’  Portrait  of  Himself.” 

28x22^2. 

From  the  collection  of  General  Bulwer,  Hayden  Hall. 

Rubens  painted  a number  of  portraits  of  himself:  a few  were  replicas, 
but,  for  the  most  part,  they  were  of  different  garb,  pose  and  ages  and, 
as  Spooner  aptly  says,  “He  never  copied  himself  or  any  other  master.” 
Each  of  his  portraits  is  individually  different  from  all  the  others.  This 
is  believed  to  be  a splendid  likeness  of  the  great  genius  in  his  character- 
istic attire.  The  face  is  intellectual,  dignified  and  masterly  and  the  painting 
is  a good  example  of  this  pre-eminent  painter’s  work. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


199 


No.  300 — “The  Madonna  and  Two  Children.” 

40x33. 

From  the  collection  of  Lord  Northwick. 

A portion  of  the  canvas  is  framed  down,  making  the  picture  of  a smaller 
opening  and  more  attractive.  Rubens  produced  many  pictures  of  the 
Madonna  and  the  Holy  Family.  This  one  shows  his  strong,  vigorous,  but 
refined  coloring  and  gives  us  a view  of  the  beautiful  example  of  the 
Mother  and  Child,  sitting  under  the  limbs  of  a tree  which  covers  them  and 
forms  the  larger  part  of  the  upper  background. 

No.  301— “Duke  de  Vic.” 

42x31  y2 

From  collection  of  Georges  de  Montangan,  Paris. 

Duke  Dominique  de  Vic  was  a French  commander  and  constant  adherent 
of  Henry  IV.  He  rendered  important  services  at  the  battle  of  Ivry.  In  1602 
he  became  governor  of  Calais  and  vice-admiral.  Died  in  1610.  He  is  here 
represented  as  being  about  thirty  years  of  age,  and  seated  in  an  arm  chair 
facing  a table  with  red  cloth.  He  is  dressed  in  armor,  and  holds  his  helmet 
in  his  left  hand  and  a sort  of  large  baton  in  the  other.  While  the  drawing 
and  composition  is  all  but  perfect,  yet  the  coloring  is  not  lacking  in  any 
particular.  The  hand  is  remarkably  well  done,  and  the  features  and  especial- 
ly the  eyes  have  not  often  been  surpassed  either  by  Rubens  himself,  or  in 
fact  by  any  other  of  the  masters. 

No.  302 — “Helena  Fourment  (Rubens’  2nd  Wife).” 

40x23. 

From  the  Collection  of  Burgomaster  Von  Tulden,  New  Port,  Belgium. 

Helena  was  the  daughter  of  Ruben’s  first  wife’s  sister.  At  the  time  of 
her  marriage  to  Rubens,  Dec.  6,  1630,  she  was  but  16  and  he  53  years  of  age. 
She  was  a niece  to  his  brother  Philip’s  wife,  as  well  as  to  his  own  first 
wife,  Isabella  Brant,  Helena  was  a beautiful  girl,  and  Rubens  has  left  a 
lasting  proof  of  his  appreciation  of  her  pleasing  appearance  in  many  of 
his  later  and  best  works.  Her  youthful  companionship  and  vivacity  seem 
to  have  re-inspired  his  natural  poetic  genius  to  such  an  extent  that  his 
very  latest  works  show  the  same  brilliant  execution  as  those  painted  in 
the  decades  immediately  preceeding  his  second  marriage,  and  especially 
was  this  true  of  all  works  in  which  Helena  appears  either  in  portrait,  or 
as  one  of  the  characters  in  some  notable  figure  piece. 


SAFT-LEVEN  (Herman) 

Born  at  Rotterdam,  1609. 

Died  at  Utrecht,  1685. 

Dutch  School 
Landscape  painter. 

“Pupil  of  Jan  van  Goyen,  but  formed  himself  chiefly  by  studying  nature. 


200 


T.  B.  WALKER  COLLECTION. 


His  views  of  the  Rhine,  Meuse  and  Moselle  are  well  drawn,  carefully  exe- 
cuted and  enlivened  by  figures  and  animals.  The  pictures  of  his  best  period 
are  distinguished  by  their  clear  perspective  and  a soft  bluish  coloring.” 

— Cyclopedia  of  Painters  and  Paintings. 

“He  decorated  his  pictures  with  numerous  figures  and  boats  which  are 
correctly  drawn  and  touched  with  great  neatness  and  spirit.  His  coloring 
is  clear  and  transparent,  his  skies  light  and  floating,  and  his  distances  recede 
with  a pleasing  and  natural  gradation.  His  works  are  highly  esteemed  and 
are  found  in  the  choicest  collections.”  — Spooner's  History  of  the  Fine  Arts. 

■ “He  finished  his  pictures  with  extraordinary  neatness,  and  by  a light, 
free  touch,  as  well  as  by  a skillful  management  of  the  aerial  perspective, 
he  gave  to  his  hills,  grounds  and  trees  a pleasing  effect.  His  skies  and  dis- 
tances are  generally  clear;  all  of  his  objects  recede  with  perspective  truth.” 

— Pilkington’s  Dictionary  of  Painters. 

No.  303 — “A  Classical  Italian  Seaport  in  Olden  Times.,, 

16x24. 

From  an  Old  English  collection. 

The  river  occupies  the  left  of  the  picture;  on  the  right  great  mountains 
towering  high  above  the  water’s  edge  like  sentinels.  The  foreground  on  the 
right  shows  an  old  castle  half  way  up  the  mountain,  while  far  on  the  distant 
slopes  are  more  old  buildings,  grim  and  silent.  Many  large  ships  are  seen 
on  the  river,  and,  along  the  shore — some  busily  engaged  in  towing  in  boats, 
others  getting  goods  ready  for  shipment,  and  still  others  directing  the  work 
— are  groups  of  men,  attired  in  the  quaint  costumes  of  the  times.  In  this 
painting  one  notes  at  once  the  fine  perspective  and  rich  coloring  so  char- 
acteristic of  this  artist. 


SANCHEZ-COELLO  (Alonzo) 

Spanish  School. 

Born  Benyfayro  in  Valencia  about  1513. 

Died  in  Madrid  in  1590. 

Doubtfully  claimed  that  he  studied  in  Italy. 

Court  painter  to  Philip  II.  of  Spain. 

“Accompanied  Antonio  Moro  in  1552  to  Lisbon,  where  he  remained  some 
years  in  the  service  of  John  III.  and  acquired  the  title  of  Portuguese  Titian. 
On  the  death  of  the  king,  his  widow,  Dona  Juana,  recommended  him  to  her 
brother,  Philip  II.  of  Spain,  and  Coello  became  his  court  painter  and  intimate 
courtier,  and  won  honors  and  wealth.  * * * Was  especially  noted  for 

his  portraits.  Works:  Don  Carlos,  the  Infanta  Isabella  Anna  of  Austria, 

* * * Johanna  of  Austria,  Margaret  of  Parma,  and  Mary  of  Austria.” 

— Cyclopedia  of  Painters  and  Paintings. 

“He  painted  many  portraits  of  Philip  and  of  other  members  of  the  royal 
family.  He  also  painted  the  Popes  Gregory  XIII.  and  Sixtus  V.  and  many 
grandees  of  Spain.  With  such  patronage  he  became  rich,  and  it  is  said  lived 
according  to  his  fortune.”  — Bryan’s  Dictionary  of  Painters  and  Engravers. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


201 


“His  chief  work  is  the  Martyrdom  of  St.  Sebastian  in  the  church  of  St. 
Geronimo  at  Madrid,  which  is  a powerful  and  masterly  performance.” 

— Pilkington’s  Dictionary  of  Painters. 

“He  is  said  to  have  copied  some  of  the  pictures  of  Titian.  Probably  he 
made  that  artist  his  model.  It  is  certain  that  by  some  means  Sanchez  Coello 
became  one  of  the  greatest  portrait  painters  of  his  time.” 

— Painters  and  Their  Works. 


No.  304 — “Margaret  de  Parma,  Daughter  of  Charles  V.” 

38x27. 

From  the  collection  of  Comte  A.  de  Ganey,  Paris. 

Marguerite  de  Parma,  or  Margaret  of  Parma,  regent  of  the  Netherlands, 
was  an  illegitimate  daughter  of  Charles  V of  Spain  by  a Flemish  woman. 
She  was  born  at  Oudenarde  in  1522.  She  was  brought  up  in  Brussels,  and 
married  Alexandro  de  Medici  in  1536,  and  in  1538  was  married  to  Ottavio 
Farnese,  to  whom  she  bore  a son  who  became  the  renowned  General  Alex- 
ander Farnese.  In  1559  Philip  II  made  her  stadtholder  of  the  Netherlands. 
There  she  sided  with  the  notorious  Granville,  introduced  the  Inquisition  and 
provoked  the  various  provinces  to  revolt.  She  resigned  when  Alva  was  sent 
to  the  Netherlands  (1567)  and  died  at  Ortona  in  1586. 

This  painting  was  included  in  the  Lord  Northwick  sale  in  1759.  The 
picture  is  a three-quarter  length  portrait,  and  as  she  was  but  sixteen  years 
of  age  at  the  time  of  her  second  marriage,  this  picture  was  most  likely  painted 
after  that  event,  as  the  portrait  is  that  of  a woman  between  twenty  and 
thirty.  Her  gown  of  light  blue  and  brown  is  elegantly  trimmed  with  gold 
braid  and  hand-made  lace,  and  has  Queen  Elizabeth  collar.  The  face  is 
rather  long  and  thin,  but  with  regular  features  inclining  toward  the  classic. 
The  whole  picture,  including  the  artistic  hands,  shows  plainly  the  work  of 
a master  portrait  painter. 


SWANEVELT  (Herman). 

Born  at  Woerden  near  Utrecht  about  1600  or  earlier. 

Died  in  Paris  or  probably  Rome  about  1655  or  later. 

Student  perhaps  of  Gerard  Douw  and  Claude  Lorraine. 

Dutch  school  landscape  painter. 

Member  of  the  Royal  Academy  1653. 

“The  particulars  of  the  life  of  this  artist  are  almost  unknown.  The 
dates  given  of  his  birth  and  death  (1600-1655)  are  those  usually  to  be 
found  in  dictionaries.  * * * He  introduced  much  yellow  into  his  skies, 

avoided  dark  foliage  and  kept  the  browns  and  reds  for  buildings  and  fore- 
grounds. The  composition  and  drawings  in  his  pictures  are  often  excellent.” 

— Painters  and  Their  Works. 

“On  his  arrival  at  Rome,  he  was  indefatigable  in  his  studies,  studious 
and  solitary  promenades  procuring  him  the  nickname  of  ‘The  Hermit.’  In 
1640,  he  became  the  disciple  of  Claude  Lorraine,  with  whose  help  he  soon 


202 


T.  B.  WALKER  COLLECTION 


became  one  of  the  most  celebrated  painters  of  landscape  of  his  time.  His 
better  works  are  not  seldom  ascribed  to  his  master.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“He  studied  nature  incessantly  and  very  frequently  with  Claude  observed 
the  tinging  of  different  objects,  mountains,  rocks,  trees,  skies  and  water  and 
the  various  effects  of  light  at  noon  and  evening;  which  gave  his  works  so 
much  beautiful  truth  and  nature  as  will  forever  render  them  extremely 
estimable.  Elerman  also  took  great  delight  in  frequenting  the  elegant 
remains  of  antiquity  about  Rome  to  observe  and  design  after  the  finest 
ruins,  in  which  entertainment  he  spent  all  his  leisure  hours  and  from 
this  studious  and  retired  manner  of  life  obtained  the  name  of  the  ‘Hermit  of 
Italy.’  ” — Pilkington’s  Dictionary  of  Painters. 


No.  305 — “Wooded  Landscape.” 

55x64. 

From  the  collection  of  Lord  Buckland. 

In  this  important  work,  the  artist  produced  one  of  his  best  and  most 
characteristic  paintings.  At  a glance,  one  sees  the  influence  of  his  renowned 
master,  Claude  Lorraine,  and  one  readily  realizes  why  it  has  often  happened 
that  his  paintings  have  passed  for  the  work  of  that  great  landscape  painter. 

In  the  foreground  upon  the  rugged  shore  of  a winding  river,  two 
shepherds  are  attending  a herd  of  cattle.  On  the  left,  a rugged  brown 
cliff  with  gnarled  trees  growing  from  crevices  in  the  rock,  stands  out 
abruptly,  while  at  its  base  near  the  river’s  bank,  their  tops  reaching  above 
the  summit  of  the  cliff,  stand  a group  of  magnificent  trees.  On  the  right, 
a wooded  promontory  terminates  at  a bend  in  the  river  where  a great 
castle  rears  its  massive  walls  and  picturesque  tower  against  the  broad 
valley  lying  beyond.  On  the  opposite  shore,  the  hills  rise  one  above  another 
like  great  billows,  their  summits  tinted  to  mellow  gold,  reflected  from  the 
subdued  light  of  the  setting  sun. 

“ ’Tis  the  end  of  the  day  and  the  shadows  grow  deep, 

Soon  the  twilight  will  end — then  the  world  is  asleep; 

The  river  flows  silently  down  to  the  seas, 

And  the  birds  fly  away  to  their  home  in  the  trees.” 

No.  306 — “Ancient  Rome.” 

2714x34. 

From  a very  old  family  collection  in  Italy.  This  interesting  example  is 
one  of  Swanevelt’s  earlier  paintings,  the  coloring  and  tone  following  more 
nearly  the  style  of  the  Dutch  painters  than  those  of  his  later  period.  It 
was  no  doubt  one  of  his  first  productions  after  arriving  in  Rome,  painted 
before  he  became  a student  of  Claude  Lorraine.  He  shows  the  portico 
of  some  historic  building  with  a number  of  soldiers  approaching  on  horse- 
back, one  of  which  on  a white  horse  appears  to  be  a person  of  rank  as  all 
attention  is  turned  in  his  direction  and  all  seem  inclined  to  show  him  homage. 
This  is  considered  a most  splendid  example  of  this  master,  done  under 
his  early  training  as  a student  of  Douw. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


203 


SCHREIBER  (Charles  Baptiste)  - --  --  --  --  Paris 

Born  at  Paris. 

Pupil  of  M.  Brandon  and  L.  Bonnat. 

Member  of  the  Society  of  French  Artists. 

Picture  is  No.  259. 

No.  307 — “The  Duett  ” 

(Cardinal  and  Bishop.) 

203/2x17*4. 

In  a luxurious  apartment  in  the  palace,  surrounded  by  handsome  tapes- 
tries, rich  rugs  and  flowers,  the  cardinal  and  bishop  are  enjoying  some  music 
together.  On  the  right  is  seated  the  cardinal  earnestly  fingering  his  violon- 
cello, his  eyes  intently  following  the  music  which  is  propped  up  on  a small 
table  before  him.  Directly  opposite  and  facing  the  cardinal,  stands  the 
bishop  who  is  playing  the  violin,  which  he  appears  to  be  doing  without 
regard  to  the  music  on  the  stand.  There  is  a soulful  expression  on  the 
faces;  one  of  intense  earnestness  and  satisfaction.  As  fine  a picture  as 
Vibert  ever  painted. 

SCHREYER  (Adolphe).  ---------  Paris 

Born  at  Frankfort-on-the-Main,  1828. 

Pupil  of  Stadel  Institute,  Frankfort. 

Studied  at  Stuttgart,  Munich  and  Dusseldorf. 

Traveled  with  Prince  Thurn  through  Hungary,  Wallachia  and  Russia. 

Accompanied  the  Austrians  in  their  march  through  the  Danubian 
Principalities,  in  1854. 

Visited  in  Algiers  in  1861,  Syria  and  Egypt  in  1865. 

Medal,  Exposition  Universelle,  1867. 

Hors  Concours. 

Created  court  painter  to  the  Grand  Duke  of  Mecklenburg. 

Member  of  the  Academies  of  Antwerp  and  Rotterdam. 

Honorary  member  of  the  Deutches  Nochtstift. 

“Another  famous  student  of  the  Stadel  Institute  is  Adolphe  Schreyer, 
whose  spirited  equestion  pictures  are  everywhere  in  demand.  He  has  treated 
the  horse  in  all  semi-barbarous  localities.  His  treatment  is  highly  dramatic, 
original  and  free.”  — Radcliffe’s  Schools  and  Masters  of  Painting. 

“As  an  animal  painter  he  obtained  absolute  mastery  over  the  horse. 
Some  artists  have  chosen  for  their  special  favorites  cattle,  as  Paul  Potter, 
for  instance;  others  sheep,  as  the  Belgian  Verboeckhoven,  and  our  English 
Cooper;  and  others  again  dogs,  as  supremely,  Sir  Edward  Landseer;  but 
Schreyer  has  shown  a preference  for  the  horse  as  the  companion,  the  faith- 
ful servant,  and  sometimes  the  suffering  slave  of  man.  The  horse  as  de- 
picted by  him  is  not  highly  trained  or  groomed,  but  rather  a wild  creature, 


204 


T.  B.  WALKER  COLLECTION. 


flying  full  tear  across  the  wild  waste,  with  a cart  or  carriage  rattling  at 
his  heels.” — Atkinson. 

“Adolphe  Schreyer  is  another  painter  who,  like  Barye,  Delacroix  and 
Schenck,  likes  to  paint  the  stormy  side  of  life.  He  produced  in  rapid  suc- 
cession those  pictures  of  wild  life  in  Eastern  Europe  in  which  horses  play  so 
conspicuous  a part,  and  which  are  so  associated  with  his  name  by  their 
subjects  that  a ‘Schreyer/  without  a horse  or  horses,  would  indeed  be 
the  play  of  Hamlet  with  Hamlet  omitted.  We  know  a ‘Schreyer’  as  far  as 
we  can  see  it.  These  scenes  transported  from  the  half-barbarous  lands  of 
the  Slavs  have  an  air  of  exaggeration,  but  those  who  know  the  people  and 
their  manners  assure  us  that  all  the  storm  and  stress,  this  plunging  and  rear- 
ing of  wild  or  half-tamed  horses — hoofs  pawing  the  air,  manes  and  tails 
streaming  to  the  wind,  these  swarthy  men  in  queer,  outlandish  garb — all 
these  things,  we  are  assured,  are  the  everyday  sights  and  scenes  of  these 
countries  so  far  removed  from  the  route  of  the  ordinary  traveler.” 

— Tuckerman’s  Book  of  the  Artists . 

No.  308 — “Evening  in  Arabia.” 

19x32*4. 

Over  the  russet  hills  a party  of  Arabs  on  horseback  take  their  way  at 
evening.  The  light  of  the  warm,  pink  sunset  floods  landscape  and  rider,  and 
adds  its  tint  to  the  low  horizon  and  the  sky  overhead.  Three  riders  in  the 
immediate  foreground,  while  others  can  be  seen  in  the  distance. 

Of  this  painting  Mrs.  Schreyer  wrote:  “My  husband  has  nearly  fin- 

ished your  picture.  I think  it  is  one  of  the  finest  he  has  ever  painted — - 
the  most  color,  and  full  of  light. 

No.  309— “Scene  in  Wallachia  ” 

32x50^. 

This  represents  a party  of  hardy  Wallachian  teamsters  unhitching  their 
horses  at  a country  hotel  or  station,  in  the  early  springtime,  or  in  the 
fall  of  the  year,  when  a light,  fresh  snow  had  been  falling,  covering  the 
ground  and  buildings.  The  soft,  warm  coloring  of  the  snow  and  sky  makes 
a very  agreeable,  beautiful  picture,  different  from  the  colder  snow  scenes 
which  sometimes  are  enough  to  give  a person  a bad  cold  to  look  at  them. 

It  is  regarded  as  one  of  Schreyer’s  most  successful,  agreeable  and  sat- 
isfactory paintings. 

No.  310 — “Original  o£  Schreyer’s  Black  Arabian  Horse.” 

7^x9. 

This  small  panel  shows  the  original  from  which  this  artist  painted  the 
varied  compositions  of  his  black  Arabian  horse.  As  Tuckerman  aptly  re- 
marks, “A  ‘Schreyer’  without  a horse  or  horses  would  be  like  the  play  of 
Hamlet  with  Hamlet  omitted.”  This  well-groomed,  half-tamed  horse  was 
transferred  to  many  canvases,  making  one  of  a group  or  troupe  of  horses, 
and  was  used  in  the  composition  of  many  of  his  best  works.  The  rider  is 
attired  as  a native  sheik  (chief)  of  the  Bedouin  Arabs  of  Western  Asia,  and 
the  landscape  depicts  his  native  haunts. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


205 


STRIJ  or  STRY  (Abraham  Van). 

Born  at  Dordrecht,  Dec.  31,  1753. 

Died  there  March  7,  1826. 

Student  of  his  father,  A.  C.  Lens  and  Joris  Ponse. 

Landscape,  animal  and  figure  painter. 

Influenced  by  Albert  Cuyp. 

Member  of  the  Institute  of  the  Netherlands  and  of  Antwerp  Academy. 

“His  coloring  is  warm  and  his  pictures  give  a true  representation  of  na- 
ture. His  drawings  approach  very  nearly  those  of  Cuyp  and  Hobbema.” 

— Painters  and  Their  Works. 

“He  afterwards  turned  to  the  painting  of  portraits,  landscapes  and  cattle 
in  the  manner  of  Cuyp,  and  the  interiors  of  shops  and  kitchens.  In  such 
subjects,  he  arrived  at  much  excellence,  especially  in  chiaroscuro.  In  <1774, 
he  founded  the  “Pictora”  Society  of  Dordrecht  and  was  its  first  president.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 


No.  311 — “Landscape  and  Cattle.” 

27x38. 

From  the  collection  of  Lady  Cartwright. 

The  scene  is  midsummer  in  Holland.  On  the  right,  beneath  the  shadow 
of  some  gnarled  trees  broken  and  bent  by  many  passing  storms,  stands  a 
neat  brown  cottage,  the  thatched  roof  moss  grown  in  the  shadows  of  trees 
and  shrubbery.  The  housewife,  barefooted  and  bare  armed,  sits  sewing  be- 
neath the  trees  while  the  husbandman  lies  face  downward  in  the  grass  near 
by.  Two  fine  cows  and  three  sheep  have  sought  the  same  friendly  shade, 
while  beyond,  many  cattle  and  the  family  horse  are  feeding  in  a wooded 
pasture.  On  the  waters  of  the  dyke,  a small  boat  is  sailing  and  in  the  dis- 
tance is  seen  the  familiar  Dutch  mill. 

As  in  all  of  this  master’s  later  works,  the  atmospheric  effects  are  really 
wonderful,  his  colors  are  mellow  and  his  drawing  excellent. 


STUART  (Gilbert). 

Born  in  Narrangansett,  Rhode  Island,  December  3,  1755. 

Died  in  Boston,  July  27,  1828. 

“An  Anglo-American  painter  of  great  talent,  * * * soon  after  reach- 

ing manhood,  he  came  to  England  and  was  introduced  to  Benjamin  West, 
with  whom  he  worked  for  some  time.  He  showed  great  ability  and  some 
portraits  that  he  exhibited  brought  him  into  public  notice.  He  rose  into 
eminence  and  his  claims  were  acknowledged  even  during  the  life  of  Sir  Joshua 
Reynolds.  * * * He  returned  to  America  in  1793.  * * * Of  his  Amer- 
ican portraits,  that'  of  Washington  is  the  chef  d’oeuvre.  He  painted  the 
president  several  times — once  for  the  late  Marquis  of  Landsdowne.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“His  portraits  show  great  insight  into  character  and  are  remarkable  for 
their  simplicity  of  means.  They  have  great  individuality,  excellent  balance 


206 


T.  B.  WALKER  COLLECTION. 


of  light  and  shade,  and  generally  pure  color.  Among  the  list  are  those  of 
Washington,  of  whom  Stuart  was  the  painter  par  excellence.” 

— Cyclopedia  of  Painters  and  Paintings. 


No.  312 — “George  Washington.” 

29x24. 

From  the  collection  of  Trevalyan  Turner,  London. 

Nearly  all  cuts  in  encyclopedias,  histories,  etc.,  are  taken  from  some 
one  of  the  Stuart  portraits. 

George  Washington  was  born  in  Westmoreland  county,  Virginia.  He 
was  a son  of  Augustine  Washington  by  his  second  wife,  Mary  Ball.  His 
greatgrandfather,  John,  emigrated  from  England  about  1657.  At  the  age  of 
nineteen,  he  was  appointed  Adjutant  General  (with  rank  of  Major),  and  took 
active  part  in  the  Seven  Years’  War  (1754-1761).  On  June  15,  1775,  he  was 
unanimously  chosen  as  commander-in-chief  of  all  the  American  forces,  but 
did  not  take  command  until  July  2 following.  At  the  close  of  the  Revolu- 
tionary War  (Dec.  23,  1783),  Washington  resigned  his  commission  and,  on 
March  4,  1787,  was  elected  without  opposition  President  of  the  United  States. 
In  1792  he  was  re-elected.  He  was  six  feet  two  inches  in  height,  with  a frame 
well  proportioned  and  firmly  knit.  His  hair  was  brown,  his  eyes  blue  and 
quite  far  apart.  From  boyhood,  he  was  renowned  for  his  great  physical 
strength,  and  it  is  related  that  in  his  youth  he  threw  a stone  across  the 
Rappahannock,  a feat  which  it  is  claimed  has  never  been  performed  since 
by  anyone.  He  was  proverbial  for  punctuality  and  truthfulness  and  scrupu- 
lously attentive  to  his  dress  and  his  personal  appearance. 

No.  313 — “Washington  and  Horse.” 

36x28^. 

Obtained  from  an  old  family  of  Virginia. 

General  Washington  in  the  full  uniform  of  an  American  Revolutionary 
general,  is  represented  as  standing  on  a hill,  immediately  beyond  which  a 
naval  battle  is  in  progress.  With  his  left  hand  he  holds  the  reins  of  his 
white  horse,  and  his  hat  is  held  in  the  right  hand.  Washington  stands  erect, 
with  determination  and  righteous  resolve  written  upon  every  feature,  while 
his  horse  sniffs  the  air  and  seems  impatient  to  do  his  humble  part  in  his  re- 
nowned master’s  service.  The  face  of  Washington  follows  closely  the 
original  portraits  by  the  same  artist. 


No.  314 — “Original  Portrait  of  Washington.” 

2914x25. 

This  wonderful  old  painting  was  found  only  a few  years  ago  in  England 
and  is  without  doubt  one  of  Stuart’s  two  first  original  portraits  of  Wash- 
ington, or  what  is  sometimes  called  the  Sam’l  Williams  picture.  The  Athe- 
naeum portraits  now  in  the  Boston  Art  Museum  are  recognized  and  ad- 
mitted as  having  been  painted  from  life.  On  the  other  hand,  when  Stuart 


INDEX  AND  BIOGRAPHICAL  NOTES. 


207 


died  he  put  the  following  note  at  the  bottom  of  a manuscript  which  bore  the 
signature  of  George  Washington:  “In  looking  over  my  papers  to  find  one 

that  had  the  signature  of  George  Washington.  I found  this,  asking  me  when 
he  should  sit  for  his  portrait,  which  is  now  owned  by  Samuel  Williams  of 
London.  I have  thought  it  proper  that  it  should  be  his,  especially  as  he 
owned  the  only  original  painting  I ever  made  of  Washington,  except  one  I 
own  myself.  I painted  a third,  but  rubbed  it  out.  I now  present  this  to  his 
brother,  Timo  Williams,  for  said  Samuel.” 

(Gilbert  Stuart,  Boston,  March  9,  1823.) 

This  is  positive  proof  that  Stuart  had  painted  another  portrait  from  life 
of  Washington,  in  addition  to  the  Athenaeum  portrait.  This  portrait  gives 
the  impression  of  Washington  being  a little  younger  and  that  it  was  painted 
earlier  than  the  Athenaeum  picture. 

The  canvas  is  the  same  as  those  used  by  Stuart  in  the  other  portraits 
of  that  period. 

It  was  sold  in  a prominent  art  sale  as  an  original  life  portrait  by  Stuart. 


SCHIRMER  (Johann  Wilhelm)  -------  Prussia 

Born  at  Julich,  Rhenish  Prussia,  1807. 

Died  at  Carlsruhe,  1863. 

Pupil  of  Dusseldorf  Academy,  under  Schadow. 

Professor  at  Dusseldorf  Academy,  1839. 

Director  of  the  Carlsruhe  Art  School,  which  he  reorganized. 

Member  of  Berlin  and  Dresden  Academies. 

Became  famous  as  a representative  of  historical  landscape  in  the  style  of 

Poussin. 

The  leader  of  -the  Modern  German  School  of  Landscape  Painting. 


No.  315 — “Landscape.” 

31x32*4. 

A heroic  landscape,  and  an  exceptionally  fine  example  of  the  work  of 
this  noted  artist.  In  the  foreground  is  a pool  or  pond  surrounded  by  high 
and  rugged  banks,  on  the  edges  of  which  tall  reeds  and  rushes  grow.  On  a 
little  shoal  near  the  shore,  a couple  of  storks  stand,  their  forms  mirrored  in 
the  clear  water.  Fine  old  trees  in  full  foliage  crown  the  opposite  bank,  some 
of  them  overshadowing  the  pool.  Midsummer  brightness  is  mirrored  all 
round  and  indicated  in  the  luxuriant  vegetation.  Particularly  noticeable  in 
this  picture  are  the  grand  old  trees — 

* * * “That  like  giants  stand 

To  sentinel  enchanted  land.” 


SCHUSSELLE  (E.).  -------  Philadelphia,  Pa. 

For  many  years  the  art  director  of  the  Academy  in  Philadelphia  and  one 
of  the  best  known  painters  of  his  time. 


208 


T.  B.  WALKER  COLLECTION. 


No.  316 — “General  Jackson  Before  Judge  Hall.” 

42x62. 

(Fined  for  contempt  of  court,  at  New  Orleans,  in  1815.) 

Painted  in  1859.  Schusselle  devoted  ten  years  of  careful  work  to 
reproducing  this  scene.  The  characters  are  all  reliable  portraits  of  the 
parties  and  the  painting  is  a correct  historical  reproduction  of  this  cele- 
brated scene. 

‘‘General  Jackson,  like  a true  soldier,  did  not  relax  his  vigilance  after 
the  victory  that  saved  Louisiana  from  British  conquest.  He  maintained 
martial  law  in  New  Orleans  rigorously,  even  after  rumors  of  a proclamation 
of  peace  reached  that  city.  When  an  official  announcement  of  peace  was  re- 
ceived from  Washington,  he  was  involved  in  a contention  with  the  civil 
authorities,  who  had  opposed  martial  law  as  unnecessary.  In  the  Legis- 
lature of  Louisiana  was  a powerful  faction  opposed  to  him  personally, 
and  when  the  officers  and  troops  were  thanked  by  that  body  (February 
2d,  1815),  the  name  of  Jackson  was  omitted.  The  people  were  very  in- 
dignant. A seditious  publication  soon  appeared,  which  increased  their 
indignation,  and,  as  this  was  a public  matter,  calculated  to  produce  dis- 
satisfaction in  the  army,  Jackson  caused  the  arrest  of  the  author  and  his 
trial  by  martial  law. 

“Judge  Dominic  A.  Hall,  of  the  Supreme  Court  of  the  United  States, 
issued  a writ  of  habeas  corpus  in  favor  of  the  Offender.  Jackson  consid- 
ered this  a violation  of  martial  law,  and  ordered  the  arrest  of  the  judge 
and  his  expulsion  beyond  the  limits  of  the  city.  The  judge  in  turn,  when 
the  military  law  was  revoked  in  consequence  of  the  proclamation  of  peace, 
required  Jackson  to  appear  before  him  and  show  cause  why  he  should  not 
be  punished  for  contempt  of  court.  He  cheerfully  obeyed  the  summons, 
and  entered  the  crowded  court-room  in  the  old  Spanish-built  court  house  in 
citizen’s  dress.  He  had  almost  reached  the  bar  before  he  was  recognized, 
when  he  was  greeted  with  huzzas  by  a thousand  voices.  The  judge  was 
alarmed  and  hesitated.  Jackson  stepped  up,  procured  silence,  and  then, 
turning  to  the  trembling  judge,  said:  ‘There  is  no  danger  here — there 

shall  be  none.  The  same  hand  that  protected  this  city  from  outrage 
against  the  invaders  of  the  country  will  shield  and  protect  this  court,  or 
perish  in  the  effort.  Proceed  with  your  sentence.  The  agitated  judge 
pronounced  him  guilty  of  contempt  of  court  and  fined  him  $1,000.  This  act 
was  greeted  by  a storm  of  hisses.  The  general  immediately  drew  a check 
for  the  amount,  handed  it  to  the  marshal  and  then  made  his  way  to  the 
court  house  door.  The  people  were  intensely  excited.  They  lifted  the  hero 
upon  their  shoulders,  bore  him  to  the  street,  and  there  an  immense 
crowd  sent  up  a shout  that  blanched  the  cheek  of  Judge  Hall.  Jackson 
was  placed  in  a carriage  from  which  the  people  took  the  horses,  and 
dragged  it  themselves  to  his  lodgings,  where  he  addressed  them,  urging 
them  to  show  their  appreciation  of  the  blessings  of  liberty  and  a free  gov- 
ernment by  a willing  submission  to  the  authorities  of  their  country.  Mean- 
while $1,000  had  been  collected  by  voluntary  subscriptions  and  placed 
to  his  credit  in  a bank.  The  general  politely  refused  to  accept  it  and 
begged  his  friends  to  distribute  it  among  the  relatives  of  those  who  had 
fallen  in  the  late  battles. 

“Nearly  thirty  years  afterwards  (1843)  Congress  refunded  the  sum 
with  interest,  amounting  in  all  to  $2,700.” 

— Cyclopedia  of  United  States  History. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


209 


BY  STUDENTS  in  Perugino’s  Studio. 


No.  317 — “Raphael  and  Perugino.” 

21x15. 

These  portraits  were  painted  by  the  students  in  Perugino’s  school,  at 
Perugia,  about  1503.  In  the  year  1500,  Raphael,  who  had  already  won 
honors  and  renown  as  a painter,  entered  the  studio  of  Perugino,  and  no 
doubt  acquired  much  of  Perugino’s  manner,  yet  each  seemed  to  work  inde- 
pendent of  the  other,  as  their  works  (1500  to  1505)  each  bear  the  individual 
name  of  the  artists.  Raphael  is  the  younger  of  the  two  men  and  his  por- 
trait is  immediately  back  of  Perugino. 


THAULOW  (Fritz). - - - - Norway 

Born  Oct.  20,  1845,  in  Christiania,  Norway.  Died  September,  1906,  in 
Holland,  where  he  was  on  a visit.  His  studio  was  in  Paris,  where  he  gen- 
erally resided  during  the  last  fifteen  years.  Pie  studied  under  Von  Soren- 
sen, at  the  Academy  at  Copenhagen.  Afterwards  he  studied  with  Gude  in 
Carlsruhe.  His  pictures  have  been  purchased  by  the  principal  national 
galleries  of  Europe.  There  are  several  in  the  National  Gallery  in  Berlin, 
and  one  is  hung  in  the  Luxemberg  Museum,  Paris. 


No.  318 — “Night  Scene  in  Holland.” 

25x31. 

The  artist  presents  a small  hamlet  by  night.  By  the  narrow  roadway 
skirting  the  shore  of  the  dyke,  a young  man  and  his  fraulein  stand  talking 
in  the  starlight.  Beyond  the  walled  dyke  a row  of  quaint  old  buildings 
cast  their  shadows  in  the  riffling  waters,  while  lights,  shining  from  distant 
windows,  mark  the  location  of  a friendly  inn. 

Then  hail  to  the  night,  when  the  sky’s  clear  and  bright; 

And  a myriad  of  worlds  are  at  play, 

And  suns  run  apace,  through  fathomless  space; 

From  twilight  till  dawn  of  the  day. 

A million  stars  peep  from  the  canopied  deep; 

As  lights  of  the  June  fire-fly. 

Some  mark  the  outposts,  of  the  numerous  hosts, 

As  God’s  universe  passes  by. 


No.  319 — “Lovers’  Retreat.” 

17^x20. 

Another  of  Thaulow’s  unique  conceptions.  A dyke  occupies  the  center 
of  the  picture,  while  in  the  distance  is  seen  a quaint  dwelling  with  green 
blinds  drawn  down  for  the  night,  while  still  farther  on  a light  is  seen 
in  the  windows  of  the  village  inn.  On  the  right,  in  the  shadow  of  the  little 
brown  church,  two  lovers  are  taking  advantage  of  the  beautiful  night  for 
a stroll  along  the  canal. 


210 


T.  B.  WALKER  COLLECTION. 

TENIERS  (David),  The  Younger, 

Flemish  school. 

Born  at  Antwerp,  1610. 

Died  at  Brussels,  April  5,  1694. 

Master  of  the  Corporation  of  St.  Luke,  1633. 

Dean  of  the  Guild  of  St.  Luke,  1644-45. 

One  of  the  founders  of  the  Academy  of  Fine  Arts  at  Antwerp,  1663. 

“On  July  22d,  1637,  he  married  Anne,  the  daughter  of  Jan  Brueghel  and 
a pupil  of  Rubens.  She  had  been  baptized  in  1620,  so  cannot  have  been  more 
than  seventeen  years  of  age.  * * * Anne  died  in  1656  and  six  months 

later  Teniers  married  Isabel,  the  daughter  of  Andreas  de  Fren,  secretary 
to  the  council  of  Brabant.  * * * Was  appointed  painter  to  the  governor 

Archduke  Leopold  William,  who  loaded  him  with  gifts  and  commissions 
and  named  him  Director  of  his  Picture  Gallery  at  Brussels.  * * * He 
painted  nearly  every  kind  of  subject,  but  his  finest  art  is  confined  to  scenes 
from  peasant  life  which  lend  themselves  most  thoroughly  to  his  faculty 
for  rapid  creation,  for  incisive,  dextrous  handling,  and  for  the  cooler  har- 
monies of  color.”  — Painters  and  Engravers. 

“He  holds  the  first  position  among  the  genre  painters  of  Flanders. 
Picturesque  arrangement,  exquisite  harmony  of  coloring  in  all  details,  and  a 
light  and  sparkling  touch,  characterize  his  pictures  in  which  two  periods 
may  be  distinguished, — the  earlier,  up  to  1640,  in  which  a somewhat  heavy 
brown  tone  prevails,  gradually  attaining,  up  to  1644,  a luminous  golden 
tone,  and  the  latter,  up  to  1660,  in  which  he  changed  into  a cool  silvery  hue, — 
after  that  he  again  adopted  a decided  golden  tone.” 

— Cyclopedia  of  Painters  and  Paintings. 

His  pictures  are  “remarkable  for  richness  and  skill  in  composition,  which 
render  the  scenes  they  represent,  natural  and  animated;  and  these  qualities 
are  enhanced  by  the  life  infused  into  the  figures,  and  the  light,  though 
correct,  touches  with  which  they  are  painted.” 

— Painters  and  Their  Works. 

No.  320- — “Winter  Night  at  the  Inn.” 

7x9. 

From  the  collection  of  A.  T.  Stuart;  later  collection  of  Judge  Hilton. 

Three  congenial  fellows,  seated  on  benches  and  an  inverted  tub,  are 
grouped  around  a rustic  table  smoking  their  pipes.  A cheerful  fire  glows 
on  the  hearth  which  is  being  enjoyed  by  other  two  men,  one  standing  and 
one  sitting  looking  intently  into  the  fire,  while  the  barmaid,  with  an  eye 
to  business,  stands  in  the  door  of  the  adjoining  room  awaiting  an  order  for 
further  refreshments.  One  of  the  group  about  the  table  has  removed  his 
coat  and  let  his  pipe  fall  to  the  floor,  while  he  sits  on  the  inverted  tub 
resting  his  elbows  upon  the  table.  One  of  Teniers’  characteristic  peasant- 
life  pictures. 

No.  321 — “Reading  the  News  at  the  Country  Inn.” 

7x9. 

From,  the  collection  of  A.  T.  Stuart;  later  collection  of  Judge  Hilton. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


211 


A group  of  five  peasants,  smoking  their  pipes  and  sipping  their  beer, 
are  seated  and  standing  around  a rustic  table  listening  while  one  of  their 
number,  seated  upon  a tub,  reads  the  current  news.  A small  dog  anxiously 
awaits  the  opportunity  to  regale  himself  with  a fallen  pretzel,  and  the  bar- 
maid as  anxiously,  awaits  the  word  to  further  serve  the  assembled  guests. 
One  can  almost  imagine  the  man  with  feather  in  hat  to  be  no  other  than 
Teniers  himself  disguised  as  a boor,  studying  the  peculiar  pastimes  of 
neighboring  peasants. 


TIEPOLO  (Giovanni). 

Born  in  Venice,  April  16,  1696. 

Died  in  Madrid,  March  27,  1770. 

Venetian  School. 

Pupil  of  Gregorio  Lazzarini  and  his  father,  Giovanni  Battista  Piazzetta 

(Tiepolo). 

First  director  Academy  of  Painting,  Venice  (1753). 

Called  to  Spain  in  1761  by  Charles  III. 

“The  careful  study  of  the  work  of  Paul  Veronese  and  Titian  worked 
upon  his  genius  with  most  successful  results.  * * * The  amount  of  work 

accomplished  by  him  principally  in  fresco,  on  the  vast  ceilings  and  wall- 
spaces  of  the  magnificent  palaces  and  villas  at  Venice  and  in  Venetio — 
and  subsequently  also  at  Wurzburg  and  in  Spain — with  the  assistance  of  his 
two  painter  sons,  Giovanni  Domencio  and  Lorenzo,  is  stupendous.  * * * 

The  wonderful  merits^  of  Tiepolo  as  a draughtsman  and  colorist  have  scarcely 
been  recognized  until  now.  Viewed  by  the  side  of  his  celebrated  prede- 
cessors’ achievements  his  paintings  no  doubt  suffer  by  comparison,  but 
when  studied  at  Wurzburg  for  example,  apart  from  the  inevitable  parallels 
suggested  at  Venice,  they  cannot  but  surprise  and  charm  the  beholder.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

This  artist  was-  the  most  distinguished  painter  of  the  Venetian  School 
in  the  last  century  (18th).  He  is  said  to  have  been  a good  artist  when  only 
sixteen.  The  works  of  Paolo  Veronese  were  his  models  and  he  painted 
with  spirit  and  facility.  After  executing  a great  number  of  works  of  im- 
portance at  Milan  and  other  cities  in  Italy,  he  went  to  Spain  where  he  pro- 
duced some  of  his  best  pictures.”  — Painters  and  Their  Works. 

No.  322 — “The  Last  Supper.” 

12x24. 

(Oval  Top.) 

“Then  came  the  day  of  unleavened  bread,  when  the  Passover  must  be 
killed.  And  he  sent  Peter  and  John,  saying:  “Go  and  prepare  us  the  Pass- 

over  that  we  may  eat.”  And  they  said  unto  him:  “Where  wilt  thou  that 

we  prepare?”  And  he  said  unto  them:  “Behold  when  ye  are  entered  into 

the  city,  there  shall  a man  meet  you,  bearing  a pitcher  of  water;  follow 
him  into  the  house  where  he  entereth  in,  and  ye  shall  say  unto  the  good  man 
of  the  house:  “The  master  saith  unto  thee,  ‘Where  is  the  guest  chamber, 


212 


T.  B.  WALKER  COLLECTION. 


where  I shall  eat  the  passover  with  my  disciples?’  And  he  shall  show  you 
a large  upper  room  furnished.  There  make  ready.  And  they  went  and 
found  as  he  had  said  unto  them;  and  they  made  ready  the  passover.  And 
when  the  hour  was  come,  he  sat  down,  and  the  twelve  apostles  with  him.” 
(Luke  XXII.  8-14.) 

Jesus  is  in  the  act  of  blessing  the  wine  and  the  bread.  John,  “the  dis- 
ciple whom  Jesus  loved,”  sits  at  his  right  and  Peter  at  his  left;  while  im- 
mediately across  the  table  from  John,  is  Judas,  who  betrayed  him.  Back  of 
Jesus  the  artist  has  placed  a dim  outline  of  the  cross,  upon  which  he  was 
so  soon  to  be  crucified,  as  the  everlasting  passover, — the  Lamb  of  God 
whose  blood  should  wash  away  the  sins  of  the  world,  without  further  media- 
tion or  further  offerings.  Intense  interest  is  written  upon  every  face,  each 
mortal  mind  endeavoring  to  fathom  the  divine  significance  of  the  Master’s 
magic  words.  In  the  study  of  a subject  so  interesting,  one  is  liable  to  lose 
sight  of  the  faultless  drawing,  and  the  delicate  and  pleasing  color  arrange- 
ment. 


TINTORETTO  (Jacopi).  (Real  name  Giacomo  Robusti.) 

Venetian  School. 

Born  in  Venice,  September  29,  1512. 

Died  there  May  31,  1594. 

Student  of  Titian. 

“His  original  name  was  Robusti,  but  he  assumed  that  of  Tintoretto 
from  the  occupation  of  his  father,  who  was  a dyer  (Tintore).  He  made 
Titian  his  model  in  coloring  and  Michael  Angelo  in  design.  He  painted 
with  great  rapidity  and  his  works,  both  in  oil  and  fresco,  are  very  numerous. 
* * * All  landscape  grandeur,  says  Ruskin,  vanishes  before  that  of  Titian 

and  Tintoret  and  this  is  true  of  whatever  these  two  giants  touched.” 

— Lippincotfs  Biographical  Dictionary. 

“He  may  be  considered  the  culminating  genius  of  the  Venetian  School, 
combining  in  himself  the  several  excellencies  of  his  cotemporaries.  He  is 
said  to  have  shown  his  inclination  for  art,  almost  from  his  infancy,  and  to 
have  covered  the  walls  of  his  father’s  house  with  his  childish  sketches. 
There  is  reason  to  suppose  that  he  studied  an  unappreciable  amount  of 
time  under  Titian.  But  the  jealousy  of  the  latter  was  roused  by  the  vigor 
and  promise  of  the  newcomer’s  drawings  and  Robusti  remained  only  a few 
days  before  he  was  dismissed.  (Pie  made  a deep  study  of  Titian’s  and 
Michaelangelo’s  works,  however.)  He  was  even  at  pains  to  obtain  models 
by  Daniello  da  Volterra  of  the  famous  figures  by  Michaelangelo’s  from  the 
Medici  tombs — Dawn,  Twilight,  Night  and  Day.  These  he  carefully  studied, 
using  for  the  most  part  artificial  light,  in  order  to  obtain  a bold  chiaroscuro; 
and  he  thus  acquired  an  extraordinary  facility  in  dealing  with  objects  in 
relief.  To  his  capacity  for  taking  pains,  he  united  a genius,  which  Vasari 
has  described  as  terrible;  an  extraordinary  range  and  wildness  of  imagina- 
tion, and  a faculty  and  dispatch  in  execution  which  appeared  to  his  cotem- 
poraries little  short  of  miraculous.  It  was  this  which  earned  him  his  nick- 
name of  II  Furioso  * * * But  his  unusual  readiness  and  dispatch  did 

sometimes  result  in  the  production  of  works  unworthy  of  his  powers,  that 
more  or  less  justify  the  witticism  of  Annibal  Carracci,  that  Tintoretto  was 


INDEX  AND  BIOGRAPHICAL  NOTES. 


213 


sometimes  equal  to  Titian  and  often  inferior  to  Tintoretto.  * * * It  is 

difficult  to  assess  him  at  his  true  value;  his  extraordinary  excellence  in  every 
department  of  his  work  is  reason  for  many  critics  assigning  him  the  topmost 
place  in  the  world  of  art.”  — Bryan’s  Dictionary  of  Painters  and  Engravers. 


No.  323 — “Madonna  and  Child.,, 

4024x35^4. 

From  Spada  Palace,  Rome. 

Tintoretto’s  Madonna  is  a young  woman  with  pure  classic  features, 
beautiful  oval  face,  well  shaped  nose,  a sweet  pure  mouth,  and  a pair  of 
splendid  brown  eyes.  The  well  poised  head  is  turned  slightly  to  the  left 
as  she  looks,  with  loving  affection,  at  the  divine  infant  held  upon  her  lap. 
The  fleecy  veil-like  covering  of  the  head,  falling  in  soft  folds  over  the 
shapely  shoulders,  partially  covers  the  dark  blue  wrap,  and  the  plain  red 
dress  with  which  she  is  clothed.  The  child  in  addition  to  being  remarkably 
well  formed,  has  a pleasing  infantile  grace  and  elegance,  not  often  met 
with  in  works  of  the  early  masters.  Cherub  angels  peeping  through  the 
divine  halo,  shout  the  glad  tidings  to  earth  from  heaven,  “Joy  to  the  world, 
the  Lord  is  come.”  The  pure  innocent  face  of  the  woman,  radiant  with  a 
mother’s  love,  will  live  as  a sweet  memory  in  the  heart  of  those  who 
study  this  great  painting. 


No.  324— “Christ  Healing  the  Sick” 

42x6114. 

Bought  from  a Cardinal  in  Rome  about  1832. 

“And  they  came  unto  him  bringing  one  sick  of  the  palsy,  which  was 
borne  by  four.  And  when  they  could  not  come  nigh  unto  him  for  the 
press,  they  uncovered  the  roof  where  he  was;  and  when  they  had  broken 
it  up,  they  let  down  the  bed  wherein  the  sick  of  the  palsy  lay.  When 
Jesus  saw  their  faith,  he  said  unto  the  sick  of  the  palsy,  Son,  thy  sins  be 
forgiven  thee.  But  there  were  certain  of  the  scribes  sitting  there  and 
reasoning  in  their  hearts,  Why  doth  this  man  thus  speak  blasphemies? 
Who  can  forgive  sins  but  God  only?  And  immediately  when  Jesus  per- 
ceived in  his  spirit  that  they  so  reasoned  within  themselves,  he  said  unto 
them,  Why  reason  ye  these  things  in  your  hearts?  Whether  is  it  easier 
to  say  to  the  sick  of  the  palsy,  Thy  sins  be  forgiven  thee;  or  to  say,  Arise 
and  take  up  thy  bed  and  walk?  But  that  ye  may  know  that  the  Son  of 
man  hath  power  on  earth  to  forgive  sins  (He  saith  to  the  sick  of  the  palsy), 
I say  unto  thee,  Arise  and  take  up  thy  bed  and  go  thy  way  unto  thine 
house.  And  immediately  he  arose,  took  up  his  bed  and  went  forth  before 
them  all.”  Jesus  is  shown  as  seated  in  the  act  of  rebuking  the  scribes  for 
their  evil  thoughts.  The  sick,  the  maimed,  and  the  blind  are  being  carried 
to  him  from  every  direction.  A grand  subject  wonderfully  treated  by  this 
great  Venetian  colorist. 


214 


T.  B.  WALKER  COLLECTION. 

THOM  (James  Crawford). 

Genre  Painter. 

Pupil  in  Paris  of  Edouard  Frere,  Paris. 

First  exhibited  at  Royal  Academy,  London,  1864. 

(British  America.)  A native  of  America,  of  Scottish  descent.  He  was 
a pupil  of  Edward  Frere  in  Paris.  He  has  lived  and  practiced  his  profession 
in  England  and  in  the  United  States.  He  first  exhibited  in  London  at 
the  Royal  Academy,  in  1864,  “Returning  from  the  Wood/’  followed  by  “Tired 
of  Waiting,”  “Going  to  School,”  and  “The  Monk’s  Walk.”  In  the  French 
Gallery,  London,  he  exhibited  at  different  times,  “Children  Returning  from 
Church,”  “Love  in  the  Kitchen,”  etc.  He  sent  to  the  National  Academy, 
New  York,  in  1878,  a winter  landscape  with  figures  and  “Le  Jour  de  la 
Toussaint.”  * * * A number  of  his  landscapes  were  at  the  Mechanics’ 

Fair,  Boston,  in  1878.  — Artists  of  the  Nineteenth  Century. 


No.  325— “Approaching  Storm.” 

20x30%. 

A bank  of  angry  clouds  o’erspread  the  western  sky,  and  already  a pall 
of  darkness  hangs  over  the  line  of  low  hills  beyond  the  meadow.  Up  the 
winding  pathway  an  aged  man  with  staff  in  hand  hurries  on  to  the  shelter 
of  his  home,  while  the  wild  birds  seek  refuge  in  the  friendly  trees.  The 
smooth  waters  of  the  lake  mirror  back  the  shadows  of  the  rocky  shore,  and 
reflect  the  glorjr  of  the  white  capped  clouds,  while  a peculiar  silence  pervades 
the  air,  broken  only  by  the  shriek  of  birds,  and  the  low  rumble  of  the 
coming  storm.  The  artist  selected  a difficult  subject,  but  with  almost  fault- 
less drawing,  pleasing  color  arrangement,  and  remarkable  atmospheric  effect, 
has  produced  a most  realistic  picture,  full  of  life  and  truth. 

TOQUE  (Jean  Louis). 

Born  in  Paris,  November  19,  1696. 

Died  there,  February  10,  1772. 

French  School. 

Portrait  painter. 

Member  of  the  Paris  Academy,  1734. 

Councillor,  1744. 

Associate  Copenhagen  Academy,  1769. 

Pupil  of  Nicolas  Bertin  and  Nattier  and  later  of  Hyacinth  Rigaud. 

“He  was  invited  by  the  Empress  Elizabeth  to  the  Russian  court  where 
he  painted  the  portrait  of  that  princess  and  met  with  general  encouragement. 
He  spent  two  years  at  St.  Petersburg,  moving  thence  to  Copenhagen  where 
he  painted  several  members  of  the  Royal  Family  of  Denmark.  He  married 
the  daughter  of  the  painter,  Nattier.” 

— Bryan’s  Dictionary  of  Painters  and  Engravers. 

“Portraits  by  this  painter  are  remarkable  for  the  grace  of  the  figures 
which  are  well  drawn  and  true  in  color.”  — Painters  and  Their  Works. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


215 


No.  326 — “Catherine  1,  Empress  of  Russia.” 

36x27. 

She  was  born  of  poor  parents  at  Marienberg,  in  Livonia,  about  1688. 
She  was  taken  prisoner  by  the  Russians  in  1702,  after  having  been  married  to 
a subaltern  Swedish  officer.  Peter  The  Great  was  attracted  by  her  beauty, 
paying  her  marked  attention,  until  1711  he  recognized  her  as  his  wife.  In 
the  same  year,  she  accompanied  him  in  a campaign  against  the  Turks  and, 
when  the  Russians  were  hard  pressed,  she  negotiated  a treaty.  In  1724  Peter 
caused  her  to  be  crowned  and,  at  his  death,  in  1725,  she  was  proclaimed 
Empress.  She  had  several  children  by  her  second  marriage,  one  of  wrhich 
became  Empress  Elizabeth.  She  died  in  1727. 

This  fine  portrait  was  painted  about  1726,  soon  after  her  ascension  to 
the  throne. 


TROYGN  (Constant). 

Born  at  Sevres,  August  28,  1810. 

Died  at  Paris,  March  20,  1865. 

Landscape  and  animal  painter. 

Modern  French  Landscape  School. 

Pupil  of  Riocreux,  and  Poupart.  and  influenced  by  Roqueplan. 

Chevalier  of  the  Legion  of  Honor,  1849. 

Member  of  Amsterdam  Academy,  1847. 

Cross  of  the  Belgian  Order  of  Leopold,  1861. 

“His  father  was  employed  in  the  porcelain  manufactory,  but,  dying  when 
his  son  was  only  seven  years  old,  he  left  him  to  the  care  of  his  mother  and 
of  a relative,  M.  Riocreux,  who  was  the  keeper  of  the  Porcelain  Museum. 
Madame  Troyon  was  a skillful  artist  in  feathers  and  made  beautiful  little 
artificial  birds,  resplendent  with  gems  for  the  decoration  of  ladies’  toilets. 
She  taught  her  son  the  values  of  color  and  form  whilst  M.  Riocreux  gave 
him  his  first  serious  lessons  in  drawing.  Flower  subjects  and  foliage  first 
engaged  his  attention,  but  he  aimed  at  higher  things  and  devoted  himself  to 
landscape.  One  day,  however,  as  Troyon  was  sketching  at  St.  Cloud,  he 
fell  in  with  Camille  Roqueplan  who  later  on  introduced  him  to  Theodore 
Rousseau,  Camille  Flers,  Diaz  and  Jules  Dupre.  His  first  appearance  at 
the  Salon  was  in  1833.  * * * A trip  to  Holland  and  Belgium  in  1843 

introduced  him  to  the  famous  animal  painters  of  those  countries,  but  it  was 
primarily  due  to  his  Sevres  friends,  MM.  Louis,  Robert  and  A.  Charropin, 
that  he  began  at  Barbizon  to  introduce  animals  into  his  compositions. 
At  Pere  Gane’s  he  was  thrown  in  contact  with  Jean  Franqois  Millet  and 
Charles  Jacque.  * * * He  was  most  careful  about  his  brushes;  he  liked 

old  ones  better  than  new.  He  preferred  to  draw  with  his  brush  and  made 
little  use  of  his  pencil  and  crayon.  The  painter  par-excellence  of  impres- 
sions and  sentiments,  he  worked  very  rapidly  and  cared  very  little  about 
aesthetic  effects.”  — Bryan’s  Dictionary  of  Painters  and  Engravers . 

“In  some  of  his  works,  the  animals,  which  he  painted  with  so  much  skill, 
form  the  principal  objects;  in  others,  the  landscapes;  yet  neither  ever  caused 
him  to  neglect  the  other,  and  it  is  this,  above  all  things,  that  gives  them 


216 


T.  B.  WALKER  COLLECTION. 


such  a peculiar  appearance  of  truth.  The  figures  he  introduced  into  them 
are  also  thoroughly  well  drawn  and  characteristic  of  the  peasantry  in  that 
part  of  France  where  such  scenes  as  those  he  represents  exist.” 

— Painters  and  Their  Works . 

“Rose  to  be  one  of  the  greatest,  if  not  the  first  of  modern  French  land- 
scape painters.”  — Cyclopedia  of  Painters  and  Engravers. 

No.  327 — “ Cattle  at  Pasture.” 

29^x50. 

From  the  collection  of  Conreid  Meyer. 

This  is  one  of  Mr.  Troyon’s  wonderful  landscape  and  cattle  pictures, 
painted  about  1850  after  his  return  from  Holland  and  Belgium.  The  picture 
was  painted  at  Barbizon  and  the  beautiful  landscape  is  no  doubt  from  quaint 
Normandy.  The  scene  is  that  of  a broad  expanse  of  meadow,  watered  by  a 
winding  brook  and  bordered  on  either  side  by  low  wooded  hills.  A herd 
of  cattle  are  pasturing  some  distance  to  the  right,  while  in  the  foreground 
are  two  magnificent  cows;  one  lying  down,  the  other  standing  lazily  chewing 
the  cud,  hard  by,  an  old  tree  trunk  made  to  serve  as  a crude  land  roller. 
On  the  left,  the  edge  of  the  woods  no  doubt  hides  from  view  the  modest  farm 
house  of  the  Normandy  peasant.  The  sky  is  partially  obscured  by  misty 
clouds  and  the  sunlight  and  shadows  follow  each  other  in  rapid  succession 
across  the  beautiful  landscape.  It  would  be  difficult  to  determine  whether 
this  splendid  painting  is  a landscape  with  cattle  or  cattle  at  pasture,  as 
both  the  cattle  and  the  landscape  are  equally  well  painted,  neither  one 
detracting  from  the  other,  and  this  peculiarity  was  what  made  Troyon’s 
pictures  superior  to  nearly  all  other  masters. 

No.  328 — ‘‘Cattle  in  the  Twilight.” 

1824x25. 

From  the  collection  of  Baroness  Kaula,  Paris. 

In  the  foreground  are  three  cows,  two  standing  and  one  lying  down 
between  them.  The  sun  just  setting  tints  the  western  sky  to  gold,  which 
in  turn  reflects  the  subdued  and  sombre  light  through  openings  in  the 
foliage  of  the  forest,  one  kindly  ray  of  early  twilight  dispelling  the  heavy 
woodland  shadows,  showing  forth  in  distinct  outlines  the  cattle  and  trees 
beyond.  Farther  on,  in  the  gloom  of  the  oncoming  night,  and  almost  hidden 
from  view  by  foliage  and  the  tall  waving  grass,  stands  the  quaint  cottage 
of  the  peasant.  A friendly  light  from  the  window  and  the  smoke  coiling 
lazily  from  the  low  chimney  betoken  hospitality  and  the  preparation  of  the 
evening  meal. 

A difficult  subject  most  artistically  handled. 


No.  329 — “Bringing  Home  the  Lambs.” 

1854x25. 

Purchased  from  Troyon  and  brought  to  America  in  1860. 

The  shepherd  is  just  starting  home  from  the  pasture  driving  the  sheep 


INDEX  AND  BIOGRAPHICAL  NOTES. 


217 

before  him,  while  the  lambs  are  tucked  snugly  away  in  large  baskets 
strapped  on  either  side  of  the  faithful  donkey  who  leads  the  way.  One 
sheep  strays  away  to  a small  puddle  of  water  left  by  the  passing  shower, 
while  the  old  white  cow,  jealous  of  the  attention  being  given  to  sheep  and 
lambs,  comes  from  the  lake  shore  and  seems  inclined  to  join  in  the  pro- 
cession. The  drawing  is  most  natural  and  although  the  tone  may  fall 
slightly  below  his  later  works,  they  are  nevertheless  harmonious  and  truly 
pleasing. 

No.  330 — “Contentment.” 

28^x35. 

Still  another  of  this  master’s  splendid  pasture  scenes,  unique  however,  in 
that  he  introduces  a single  cow  accompanied  by  the  peasant’s  faithful 
donkey.  The  well  kept  appearance  and  perfect  docility  of  both,  show 
plainly  that  their  worth  is  fully  appreciated,  and  that  in  return  for  faithful 
services,  they  are  accorded  the  kindliest  treatment  and  the  best  care.  The 
whole  picture  is  a vision  of  simple  contentment.  The  kind  peasant  is 
happy  in  two  such  valuable  assets,  coveting  nothing  more  of  earthly  pos- 
sessions, craving  only  health  and  strength,  that  will  enable  him,  with  the 
aid  of  his  donkey  and  cow,  to  provide  for  his  good  wife,  until  younger  and 
stronger  hands  shall  be  able  to  take  over  the  reins  and  carry  on  the  work. 
It  cannot  be  said  that  simplicity  and  contentment  are  synonymous,  but 
we  are  assured  that  “the  meek  shall  inherit  the  earth,”  and  it  must  be  plainly 
evident  to  the  most  casual  observer,  that  the  most  perfect  happiness,  and 
the  greatest  measure  of  contentment  comes  to  those  whose  pathway  leads 
through  the  simpler  walks  of  life. 

No.  330A— “At  Pasture.” 

2 0xMr  2.VX  6 "L- 

Another  of  Troyon’s  landscapes  with  cattle  pictures,  and  like  all  his 
numerous  works  in  this  line,  he  does  not  subordinate  the  landscape  to  the 
figures  of  the  cattle,  but  cleverly  makes  each  a part  of  the  whole  composi- 
tion. In  this  work  the  three  cows  in  the  foreground  are  prominent  features, 
and  are  extremely  well  formed,  and  artistically  colored.  Yet  the  pool  of 
crystal  water,  the  broad  green  meadows,  the  peasant,  and  the  distant  wooded 
hills,  make  up  the  necessary  environments  which  with  a wonderful  perspec- 
tive, and  a background  of  splendid  clouds,  constitute  on  the  whole,  a most 
pleasing  and  satisfactory  picture. 


TURNER  (Joseph  Mallord  William)  ------  England 

Born  at  London,  1775. 

Died  December  19,  1851. 

Entered  Schools  of  Royal  Academy  in  1789. 

Became  A.  R.  A.  in  1799;  R.  A.,  1802. 

Professor  of  Perspective  in  Royal  Academy  in  1807. 

Turner’s  genius  was  early  recognized  by  the  Royal  Academy,  for  in 
1799,  when  only  twenty-four,  he  was  elected  an  Associate,  and  three  years 
later  became  an  Academician.  His  famous  “Liber  Studiorum,”  ranks  among 
the  important  labors  of  his  life.  The  Turner  Room  in  the  National  Gallery, 


218 


T.  B.  WALKER  COLLECTION. 


London,  contains  seventy  of  his  best  works.  He  died  at  Chelsea  and  was 
buried  in  St.  Paul’s  Cathedral. 

“Turner  was  not  only  the  greatest  English  landscape  painter,  but  the 
greatest  interpreter  of  nature  of  any  time  or  country.  No  landscapes  convey 
so  natural  and  complete  a sense  of  light  and  shadow  and  atmosphere,  or  so 
entire  a mastery  of  color  as  his.”  — DJ Anvers’  Elementary  History  of  Art. 

“The  exhibition  of  1815  was  a remarkable  one  as  regards  Turner.  Of  the 
eight  works  by  him  contained  in  it,  four  were  in  their  several  characters  of 
the  utmost  degree  masterly — ‘The  Battle  of  Ford  Bard  in  the  Vale  of  Aosta/ 
a large  water-color  drawing;  ‘Blind  Sand,’  ‘Crossing  the  Brook/  and  ‘Dido 
Building  Carthage’ — all  different  and  each  sufficient  to  have  made  a painter’s 
reputation.  They  are  all  four  now  in  the  National  Collection.” 

— The  Turner  Gallery. 

“Turner,  the  best  known  name  in  English  art,  is  represented  (in  the 
Alaska-Yukon-Pacific  Exposition)  by  one  of  his  famous  Venetian  scenes  and 
a classic  landscape  in  the  tropics.  He  renders  the  poetry  of  nature  as  no 
other  artist;  and  the  composition  of  his  pictures  is  faultless;  in  portraying 
gorgeous  effect,  and  the  phenomena  of  nature,  he  excels.  He  was  the  apostle 
of  light,  and  an  artist  of  sublime  genius.” 

— Chas.  D.  Pratt,  Art  Critic  Alaska-Yukon  Expo.  1909. 

No.  331 — “Venice.” 

44x56. 

From  the  collection  of  Lord  Townsend. 

Mr.  Turner  was  engaged  by  Lord  Townsend  to  paint  this  large  picture 
for  his  private  galleries.  It  is  without  doubt  one  of  the  best  and  largest 
of  this  master’s  many  Venetian  scenes.  There  is  not  likely  extant  another 
painting  more  respresentative  of  Turner’s  peculiar  and  attractive  style  than 
this  Townsend  picture.  Plis  colorings  run  from  rich  deep  reds  to  the  most 
delicate  shades  of  pink  and  green,  all  blended  with  such  harmony  as  to  be 
most  pleasing  and  beautiful.  The  vari-colored  reflections  in  the  waters  of 
the  canal  have  probably  never  been  equaled  by  himself  or  any  other  master 
of  the  brush. 


No.  332 — “The  Ancient  City.” 

36x42. 

From  the  collection  of  James  Orrick,  Bedford  Square;  one  of  the  most 
important  collections  in  London,  England. 

Originally,  Mr.  Orrick’s  collection  contained  four  very  fine  Turners. 
First  this  one  was  selected  as  being  the  finest  and  most  important  of  the 
quartette;  afterwards  the  balance  were  secured  for  the  Yerkes  collection  and 
these  are  the  Turners  that  brought  such  very  high  prices  in  the  sale  of  Mr. 
Yerkes’  collection  in  May,  1910.  D’Anvers  says,  “No  landscapes  convey  so 
natural  and  complete  a sense  of  light  and  shadow  and  atmosphere  or  so 
entire  a mastery  of  color  as  his;”  and  this  splendid  example  emphasizes 
these  facts  to  a marked  degree. 

On  the  right  of  the  harbor,  partially  hidden  by  the  trees,  stands  the 
sombre  ruins  of  a great  castle;  the  vine-clad  walls  o’ergrown  with  moss 
and  the  once  magnificent  interior,  now  the  habitation  of  owls  and  bats. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


219 


Just  beyond  is  the  fine  stone  bridge  with  triumphal  arch  in  its  center,  while 
in  the  distance  are  great  columns,  arches  and  spires  and  what  seems  to  be  a 
magnificent  marble  palace  rearing  its  resplendent  domes  against  the  deep 
blue  of  a southern  sky.  The  great  throng  of  people,  occupying  the  landing 
and  the  numerous  boats  would  indicate  a great  fete  day  and,  as  one  boat 
carries  a priest,  the  occasion  is  no  doubt  an  important  religious  festival. 
The  placid  waters  mirror  back  not  only  the  palaces  and  the  bridge,  but 
most  artistically  the  blue  sky  and  the  fleecy  clouds,  painted  in  Mr.  Turner’s 
inimitable  style. 


No.  333 — “Crossing  the  Brook.’’ 

2314x19. 

This  picture  is  the  original  painting  made  by  this  celebrated  artist,  and 
from  which  was  painted  the  large  canvas  that  is  now  in  the  Turner  Collec- 
tion in  the  National  Gallery  in  England. 

A view  of  the  banks  of  one  of  the  most  beautiful  rivers  in  England — 
the  Tamar — which  divides  Devonshire  and  Cornwall.  In  the  middle  fore- 
ground is  a brook,  and  there  are  two  girls  with  bundles.  One  of  them  is 
seated  by  the  water  side,  the  other  is  wading  the  brook,  followed  by  a 
dog  carrying  a small  parcel  in  his  mouth.  On  the  right  is  a high  and  richly 
wooded  bank,  with  a dark  arch  at  its  base;  on  the  left,  two  fine  examples 
of  Turner’s  favorite  stone-pines.  In  the  middle  is  the  winding  Tamar. 
In  the  distance  is  Poulston  bridge,  Calstock  in  the  middle  distance,  and 
beyond  this  is  Calstock  church.  The  landscape  is  most  extensive  and 
beautiful,  with  high  banks  exceedingly  rich  in  wood. 

The  picture  is  from  the  collection  of  Lord  Jersey,  where  it  remained 
until  dispersed  a few  years  ago  by  his  son,  through  the  executor  of  Lord 
Jersey’s  estate. 

No.  334— “The  Shipwreck.” 

24x35. 

From  a famous  old  English  collection. 

The  great  ship,  unable  longer  to  withstand  the  combined  fury  of  the 
storm  and  the  sea,  has  foundered  in  the  overwhelming  billows  and  is  fast 
being  engulfed.  The  angry  sea  is  strewn  with  wreckage  from  the  deck  and 
rigging  of  the  unfortunate  ship,  torn  and  broken  by  the  furious  wind.  For- 
tunately nearly  all  have  succeeded  in  reaching  the  life  boats,  but  the  storm, 
.still  unabated,  churns  the  sea  into  madness  and  these  small  crafts  seem  about 
to  be  swallowed  up  by  the  mountainous  waves.  The  sea  is  transformed  into 
a boiling  caldron,  great  troughs  seething  and  eddying  and  huge  waves 
roaring  and  breaking  into  silver  foam.  The  pall  of  darkness  and  the  roar  of 
the  sea,  mingled  with  the  din  of  thunder  and  the  awful  moaning  of  the 
wind,  all  but  turn  the  mind  to  madness,  yet  “as  hope  springs  eternal  in  the 
human  breast,”  each  with  tender  thoughts  of  loved  ones  bends  manfully 
to  the  task  until  the  storm  is  past. 

Now  the  storm  is  .past,  one  ship  is  a wreck, 

The  billows  are  sweeping  across  her  deck; 

And  luckless  men  tonight  will  sleep, 

Beneath  the  waves  of  the  boundless  deep. 


220 


T.  B.  WALKER  COLLECTION 


No.  335 — “Ancient  Italy.” 

27^x35^4. 

From  the  collection  of  the  Marquis  d’Arjuzon,  obtained  by  him  when 
he  was  attached  to  the  service  of  Queen  Victoria  when  she  came  to  France 
in  1842.  It  was  afterwaids  presented  to  the  Marquis  by  the  Court  of  Eng- 
land as  a present  from  Queen  Victoria  to  him. 

The  painting  is  one  similar  to  the  “Ancient  Italy,”  painted  byTurner 
for  Mr.  Monroe  and  sold  with  his  estate  in  1838,  the  picture  being  substan- 
tially the  same  scene,  but  taken  from  a different  point  of  view,  showing  a 
little  more  in  the  front  ground  with  the  two  characteristic  Italian  trees  of 
Turner,  one  on  each  side,  that  are  not  found  in  the  “Ancient  Italy”  painted 
for  Monroe.  The  pictures  are  evidently  taken  from  a little  difference  in 
height  for  the  front  view. 

The  following  certificate  from  Georges  Mesnier,  the  art  expert  of  the 
government  of  France,  under  whose  administration  it  was  sold  in  1899  at 
the  sale  of  the  personal  property  then  in  the  Chateau  d’Arjuzon  near  Dreaux: 

“Sir:  You  have  done  me  the  honor  of  asking  my  opinion  about  a paint- 
ing representing  “An  Evocation  of  Ancient  Italy,”  with  a Venetian  Fete, 
by  the  celebrated  English  Master,  William  Turner  (1775-1851),  which  was 
shown  to  me  a first  time  in  1899,  when  it  was  bought  at  the  sale  of  the 
Chateau  d’Arjuzon,  near  Dreaux,  the  proprietor  having  been  Court  Chamber- 
lain  of  King  Louis  Philippe  I.,  and,  as  such,  was  attached  to  the  service  of 
Queen  Victoria,  when  she  came  to  France  in  1842. 

It  appears  that  it  is  after  said  voyage  of  the  queen  that  the  Marquis 
d’Arjuzon  received  as  a gift  the  painting  by  Turner  from  the  Court  of  Eng- 
land. 

Such  is  the  origin  of  this  painting  as  it  was  given  to  me  with  docu- 
mental proofs. 

I examined  it  from  the  technical  standpoint  and  found: 

1.  That  the  picture  was  painted  on  old  canvas  and  mounted  on  old 
stretchers,  both  of  English  manufacture. 

2.  That  the  painting  had  the  density  of  paste  over  50  years  old. 

3.  That  it  bore  trace  of  date  and  signature. 

There  is  no  doubt  in  my  mind  that  the  painting  was  the  work  of  Will- 
iam Turner,  who  like  our  Watteau  for  his  ‘Embarking  of  Cyther’  executed  in 
different  conceptions  and  sizes  this  remarkable  composition  ‘Ancient  Italy,’  ” 
etc.  I am  Sir,  etc., 

, Signed,  GEORGES  MESNIER, 

Expert  to  the  Civil  Tribune  of  Paris,  Oct.  4,  1901. 

No.  336 — ‘‘Sacrifice  to  Taurus.” 

39x52. 

From  collection  of  Lord  Northwick. 

Obtained  direct  from  Turner’s  studio,  by  Northwick. 

The  Greeks  and  Romans  took  from  Egypt  much  of  their  methology, 
among  which  was  the  worship  of  the  Sacred  Bull  (Taurus)  and  which  they 
made  second  in  the  signs  of  the  zodiac  after  Aries. 

In  times  of  war  or  famine  offerings  were  made  to  Taurus,  which  were 
attended  with  great  pomp  and  solemnity.  The  artist  has  represented  such 


INDEX  AND  BIOGRAPHICAL  NOTES. 


221 


an  offering  in  front  of  the  temple,  while  the  multitude  on  verandas,  on  the 
house  tops  and  aboard  richly  bedecked  vessels  view  the  proceedings.  In 
the  center  of  the  picture  are  the  castle  gardens  and  beyond  the  main  temple 
one  sees  temple  after  temple  until  their  domes  are  lost  to  view  in  the  hazy 
sky.  The  fronts  of  the  temples  are  almost  hidden  from  view  by  beautiful 
vines  and  the  shadows  of  great  trees. 

No.  337 — “The  Tower  of  London.” 

3014x43. 

From  collection  of  Lady  Penelope  Gage. 

Engraved  by  Longman,  Rees,  Orme,  Brown  & Green,  1831. 

A celebrated  ancient  fortress  in  London,  consisting  of  a collection  of 
buildings  of  various  ages  on  an  elevated  position  on  the  north  bank  of  the 
Thames,  outside  of  the  old  city  walls.  It  covers  about  thirteen  acres  and  is 
surrounded  by  a battlemented  wall  flanked  with  massive  towers  and  encircled 
by  a moat.  In  the  center  is  the  white  tower  built  by  Gundulf,  Bishop  of 
Rochester,  for  William  I,  in  1078.  It  was  successively  strengthened  by  vari- 
ous English  sovereigns.  In  the  part  called  “The  Bloody  Tower,”  the  two 
young  princes,  sons  of  Edward  IV,  were  murdered.  The  Royal  Regalia, 
crowns,  scepters,  etc.,  are  kept  in  the  Jewel  House,  and  in  other  portions 
are  kept  armours,  weapons,  etc.  The  Tower  is  now  chiefly  used  as  an 
arsenal. 

No.  338 — “Scene  in  Italy.” 

30x40. 

Procured  from  the  Cyrus  Field  Estate. 

On  a promontory  overlooking  a beautiful  valley,  stands  a grand  old  pal- 
ace almost  hidden  by  a clump  of  Turner’s  magnificent  trees,  o’ergrown  with 
a tangle  of  long  climbing  vines.  The  domes  and  chimneys  alone  are  visible 
above  the  trees,  while  the  massive  portico  with  its  great  marble  columns, 
projects  beyond  the  cover  of  the  trees  in  the  direction  of  the  broad  fertile 
valley  extending  on,  and  away  to  the  sea.  A number  of  persons  in  gay 
costumes  come  from  the  place  through  what  seems  to  be  an  underground 
passage  barely  visible  through  the  foliage  of  the  shady  wood.  Picturesque 
ruins  and  village  hamlets  adorn  the  broad  valley  and  the  neighboring  hills 
almost  as  far  as  the  eye  can  penetrate;  yet  beyond,  the  sea,  like  a great 
blue  plain,  reflects  the  color  of  the  southern  sky,  and  supplies  a fitting  back- 
ground to  one  of  this  master’s  most  beautiful  and  characteristic  landscapes. 

No.  339 — “Grand  Canal,  Venice.” 

7x9. 

Venetian  scenery  seemed  an  inspiration  to  Turner.  The  brilliant  cos- 
tumes, the  picturesque  gondolas,  the  unique  architecture,  and  the  grand 
canals,  were  well  suited  to  his  natural  sense  of  light  and  shadow,  and  his 
entire  mastery  of  tone  and  color.  On  this  small  canvas  he  presents  the 
“Grand  Canal”  in  his  own  inimitable  style,  in  atmosphere  and  colors  unlike 
any  other  painter,  of  the  past  or  the  present. 


222 


T.  B.  WALKER  COLLECTION. 


No.  340 — “Scene  on  the  Grand  Canal.” 

17x2% 

From  collection  of  Lord  Northwick,  guaranteed  a genuine  Turner. 

This  Canalazzo  divides  the  city  into  two  parts  and  is  spanned  by  numer- 
ous bridges,  the  most  important  being  the  Rialto.  This  canal  is  also  the 
main  artery  of  commerce,  and  is  seen  dotted  with  gondolas  and  other 
pleasure  craft  as  well  as  larger  vessels  of  commerce.  On  the  left  is  seen 
one  of  the  many  imposing  buildings,  and  the  domes  and  spires  of  numerous 
churches  and  palaces  may  be  seen  almost  as  far  as  the  eye  can  reach.  The 
delicate  tints  of  the  southern  sky  making  a fit  background  for  a striking 
picture. 

No.  341— “Scene  in  Venice.” 

7x9. 

Gondolas  and  other  pleasure  craft  with  gaily  attired  Athenians,  drift 
down  the  Grand  Canal,  while  the  gondolier  sings  as  he  plays  his  gay  guitar. 

“Then  come  and  we’ll  glide  o’er  the  silvery  tide, 

And  watch  the  gay  throng  on  the  shore; 

And  my  gondolier  song,  as  our  boat  wafts  along, 

Shall  keep  time  to  the  plash  of  the  oars.” 

No.  342 — “A  Storm  Along  the  Coast.” 

35x5514. 

Storm  clouds  of  inky  blackness  shut  out  the  light,  and  in  the  pall  of 
darkness,  the  maddened  sea  aided  by  the  power  of  the  wind,  makes  a 
determined  effort  to  break  her  everlasting  bounds.  Mighty  waves  in  rapid 
succession  vent  their  fury  upon  the  rock-ribbed  shore,  their  defiant  roar 
gradually  decreasing  to  a sullen  moan,  as  torn  and  broken  they  return  again 
to  their  place  in  the  ocean’s  mighty  depths.  As  the  ear  is  rent  with  the 
awful  din,  faficy  separates  the  accompanying  murmur  of  the  storm  into 
the  prophetic  words,  “He  has  compassed  the  waters  with  bands,  until  the 
day  and  the  night  come  to  an  end.”  “Hitherto  shalt  thou  come,  but  no 
further;  and  here  shall  thy  proud  waves  be  staj^ed.”  In  this  single  wrork, 
even  though  Turner  had  painted  no  other,  is  sufficient  merit  to  establish 
for  him  an  enviable  reputation  as  one  of  the  greatest  of  the  landscape 
painters. 


No.  343 — “Classic  Landscape,  Central  Italy.” 

40x50. 

The  beautiful  fertile  valle}^  spreading  out  to  right  and  left  are  tra- 
versed by  the  rivers  Pagalia  and  Chiani.  The  isolated  city  perched  high 
on  the  precipitous  rock  in  the  center  of  the  picture  is  the  historic  cita- 
del of  Orvieto  noted  principally  for  the  cathedral  of  Duomo  commenced 
in  1290  by  the  great  architect  Lorenzo  Maitani  of  Sierra,  Pope  Nicholas 
VI  laying  the  corner  stone.  From  that  time  up  to  the  beginning  of  the 
seventeenth  century,  about  every  artist  and  sculptor  of  repute  contrib- 
uted to  its  architectural  beauty.  The  sculptures  include  the  wonderful 
bas  reliefs  which  adorn  the  bases  of  the  four  pilasters  of  the  facade,  colossal 
statutes  of  the  twelve  apostles  standing  on  lofty  pedestals  in  front  of  the 


INDEX  AND  BIOGRAPHICAL  NOTES. 


223 

six  columns  which  divide  either  side  of  the  nave  from  the  aisles.  In  ad- 
dition to  these,  there  is  on  the  altar,  the  “Annunciation,”  the  “Archangel,” 
“Adoration  of  the  Magi”  and  “Visitation,”  and  wonderful  paintings  by  Luca, 
Zuccari,  Circiquani,  Fabriano  and  others.  The  cathedral  is  constructed 
entirely  of  black  and  white  marble'. 

Back  of  the  city  the  mountains  arise  peak  upon  peak  against  a back- 
ground of  an  ideal  southern  sky.  The  rivers  are  spanned  by  numerous 
bridges  and  in  the  foreground  a bevy  of  people  in  holiday  attire,  enjoy 
themselves  on  the  verdant  hill  near  the  classic  fountain,  and  beneath  the 
shadows  of  the  lofty  pines.  It  is  not  likely  that  the  scene  is  technically 
correct,  but  is  presented  in  Turner’s  dream-like  style  calculated  to  im- 
press upon  the  mind  the  real  facts,  and  indelibly  fix  them  in  the  memory. 


No.  344 — “A  Vision  of  Ancient  Carthage.” 

32x46 

The  artist’s  conceptions  in  this  beautiful  picture  are  somewhat  similar, 
yet  materially  different  from  his  “Dido  and  Aeneas  Leaving  Carthage  on 
the  Morning  of  the  Chase,”  exhibited  at  the  Academy  in  1814,  or  during 
the  short  period  wherein  Turner  gave  himself  up  to  the  imitation  of  Claude. 
Very  soon  after,  however,  he  made  his  first  visit  to  Rome,  returning  in 
1820,  which  latter  date  is  generally  considered  the  beginning  of  his  mid- 
dle and  best  period,  and  the  effect  of  light,  the  clear  harmonious  colors, 
and  charming  richness  of  this  picture,  show  it  to  have  been  painted  in  this 
period.  The  beholder  gets  but  a glimpse  of  the  magnificent  palace  of  Dido, 
occupying  a wooded  promontory  on  the  right.  A flight  of  broad  stone  steps 
descending  from  the  palace,  form  a bridge  over  the  river;  the  last  section 
leading  down  to  the  shore,  where  a bevy  of  women  from  the  royal  house- 
hold, bask  in  the  subdued  sunlight  of  the  late  afternoon.  On  the  left,  just  at 
the  foot  of  the  stairway  leading  up  into  the  gardens,  we  are  given  an  intro- 
duction to  the  sylvan  forests  by  the  beautiful  stone  pines,  the  painter’s 
favorite  tree.  Farther  on,  the  river  is  spanned  by  a great  arched  bridge 
leading  to  a small  peninsula,  adorned  with  important  buildings,  while  be- 
yond the  bridge  may  be'  seen  the  dim  outlines  of  the  magnificent  city, 
and  the  emerald  waters  of  its  broad  harbor. 

Carthage,  which  was  one  of  Turner’s  favorite  subjects,  was  founded, 
and  built  by  Dido,  a Phoenician  princess,  and  sister  of  Pygmalion,  King  of 
Tyre,  in  the  ninth  century  before  Christ,  and  as  the  artist  must,  of  ne- 
cessity, draw  upon  his  imagination  almost  entirely,  it  is  not  strange  that 
his  pictures  of  this,  his  favorite  theme,  should  differ  according  to  his 
varying  moods  as  well  as  upon  his  ability  to  produce  them. 


No.  345 — “Laggo  Maggiore.” 

45x61. 

This  beautiful  lake,  is  the  westmost  of  the  great  lakes  of  northern 
Italy.  It  is  from  two  to  seven  miles  wide,  and  38  miles  long,  the  northern 
end  extending  into  the  Swiss  Canton  Ticino.  Ordinarily  the  surface  of  the 
lake  is  640  feet  above  the  sea,  but  as  there  are  many  rivers  flowing  into 
it,  the  surface  varies  at  different  seasons  as  much  as  twelve  feet.  The 


224 


T.  B.  WALKER  COLLECTION. 


shores  are  dotted  by  scores  of  beautiful  villas  and  a number  of  small  cities, 
the  most  important  of  which  are  Pallanza,  Intra,  Locarno,  and  Luino,  the 
latter  being  the  original  home  of  the  Luini  family,  and  has  a statue  of  the 
great  liberator,  Garibaldi,  commemorating  his  exploits  in  1867.  The  lake 
receives  several  considerable  streams,  among  which  are  the  Toce,  Maggia, 
Verzasca,  and  the  Tresa,  and  some  of  these  bring  down  the  surplus  waters 
from  lakes  Lugano,  Verese  and  Orta.  Lugano,  only  a few  miles  distant, 
is  269  feet  above  the  level  of  Maggiore,  and  is  drained  into  the  latter  by 
the  Tresa  river.  The'  painting  is  an  important  example  of  the  early  part  of 
his  later  and  best  period  and  his  handling  of  light  and  shadow,  his  charm- 
ing combination  of  colors  and  his  wonderful  atmosphere  entitles  him  to 
the  soubriquet  “The  apostle  of  light.” 


No.  346 — “View  Down  Canal  Grande,  Venice.,, 

40x63 

This  view  of  Venice  is  no  doubt  from  the  “Ponte  Sierra  della  Ganita” 
looking  down  the  Grand  Canal,  but  like  many  of  Turner’s  dream-like  scenes, 
is  not  technically  correct.  The  great  archway  and  wharf  in  the  left*fore- 
ground  is  no  doubt  the  eastern  end  of  the  Sierra  della  Ganita  bridge,  as 
people  are  seen  passing  over  it.  On  either  side  of  the  canal  are  brick,  and 
stone  buildings  of  more  or  less  importance,  ending  on  the  right  with  the 
church  of  St.  Maria  della  Saluta  built  by  Baldassre  Loughena  in  1632,  as  a 
thank  offering  for  the  end  of  the  great  plague  of  1630.  Other  towers  and 
domes  seen  on  the  right,  no  doubt  mark  the  location  of  the  palace  Damo, 
the  church  of  St.  Gregorie,  etc.,  while  those  on  the  left  are  the  palaces  and 
churches  in  the  vicinity  of  the  square,  and  church  of  St.  Mark  and  the 
wonderful  Ducal  palace,  or  palace  of  the  Doges.  The  larger  and  farther 
square  tower  being  the  Campanile  of  the  church  of  St.  *Mark,  built  in  the 
square  west  of  the  church.  This  great  tower  was  founded  about  900  A.  D. 
by  Doge  Pietro  Tribuno  and  finished  about  1131.  It  is  a very  massive  square 
of  brick,  325  feet  high  and  42  feet  square.  The  canal  is  alive  with  gondolas, 
barcas,  s a i 1 i n g boats,  etc.,  some  of  which  are  for  hire,  but  many  are  the 
private  pleasure  craft  of  the  nobility.  Besides  the  Grand  Canal  and  the 
Canal  Gindecca,  there  are  no  less  than  178  smaller  canals,  practically  all 
streets  being  canals.  And  as  the  city  is  connected  to  the  mainland  only  by 
the  great  222  arch  Railway  bridge,  a boat  of  some  character  becomes  a posi- 
tive necessity  to  every  household.  Is  it  any  wonder  that  artists  paint  dream 
pictures  of  this  most  peculiar  city,  whose  very  outlines  are  that  of  the 
painter’s  right  hand  holding  his  brush,  and  whose  palaces,  churches,  mu- 
seums, and  even  private  dwellings,  are  literally  laden  with  the  art  treasures 
of  the  ages? 


UNTERBERGER  (Franz)  --------  Austria 

Born  at  Innspruck,  1838. 

Pupil  of  Munich  Academy,  and  of  Albert  Zimmermann,  in  Milan. 

He  studied  in  Dusseldorf,  under  Andreas  Achenbach. 

Visited  Norway  in  1860. 

Afterwards  settled  in  Brussels,  where  he  followed  the  Belgian  School. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


225 


Later,  visited  Southern  France  and  Italy,  and  several  times  the  coasts  of 

England  and  Scotland. 

Several  Medals. 

Order  of  Francis  Joseph. 

No.  347 — “Scene  on  the  Coast  of  Italy  (Terra  del  Grecco).” 

24x37. 

An  old  castle  situated  on  a point  of  land  jutting  out  into  the  ocean, 
and  well  into  the  center  of  the  picture.  A fishing  party  is  seen  on  the 
rocky  shore  to  the  left.  The  full  moon  in  the  open  space  between  the 
clouds  casts  a long  line  of  bright  reflections  over  the  rippling  water.  A fine, 
strong,  well-toned  sky  and  a softly  painted  ocean  surface,  together  form  a 
very  attractive  picture. 


VAN  MARCKE  (Emile) Paris 

Born  at  Sevres,  France,  1829. 

Pupil  of  Tryon. 

First  exhibited  in  Salon,  1857. 

Medals,  1867,  1869,  and  1870. 

Legion  of  Honor,  1872. 

Medal,  Exposition  Universelle,  1878. 

“He  was  Tryon’s  pupil,  his  dear  friend,  and  his  son-in-law.  Under 
such  circumstances,  and  given  his  remarkable  talent,  it  is  not  wonderful 
that  he  developed  very  rapidly  into  an  admirable  artist.  His  handiwork  is 
so  admirable,  his  impulse  so  vigorous,  his  animals  so  splendidly  alive,  and 
his  landscapes  so  finely  conceived,  that  he  well  deserves  the  epithet,  a 
great  painter.”  — Mrs.  Van  Renssalaer. 

Tryon’s  fellow  townsman  and  pupil,  Van  Marcke,  has  attained  high  rank 
in  the  line  of  his  master’s  successes.  He  is,  indeed,  a master  of  brush  work 
and  vivacious  effect.  He  groups  and  models  with  excellence,  usually  making 
marked  contrast  of  color,  as  a white  cow  against  a black  one.  His  pictures — 
forty-three  in  all,  up  to  1882 — have  been  conspicuous  in  every  annual  Salon 
since  he  made  his  debut  in  1857.  They  form  a series  of  varied  pasture 
scenes  and  milking  times.”  — History  of  French  Painting. 


No.  348— “At  Pasture.” 

2754x36%,. 

In  an  extensive  prospect  of  pasture  land,  and  in  the  immediate  fore- 
ground, are  three  cows.  Standing  in  full  view  facing  the  spectator  is  a red 
cow  with  white  markings.  Just  beyond  her  is  a black  cow  seen  in  profile. 
At  the  right,  another  cow  is  lying.  They  are  attended  by  a blue-frocked 
boy,  who  is  standing  near  by.  The  fine  drawing,  beautiful  coloring,  solid 
execution  and  splendid  lights  and  shadows  make  this  painting  as  fine  as  any 
one  Tryon,  his  friend  and  master,  has  ever  produced. 


226 


T.  B.  WALKER  COLLECTION. 


No.  349 — “Homeward  Through  the  Forest.” 

25x31. 

Van  Marcke,  like  Troyon,  his  illustrious  tutor  and  father-in-law,  was  pre- 
eminently a cattle  painter,  and  while  it  would  be  difficult  to  determine  which 
of  the  two  painted  the  most  successful  pictures,  yet  it  is  safe  to  say  that  no 
artist,  either  ancient  or  modern,  has  ever  surpassed  Van  Marcke  in  this 
class  of  work.  In  this  beautiful  example  he  introduces  the  husbandman 
bringing  home  his  cows  from  the  pasture.  The  way  leads  through  the 
shady  woods,  where  even  now  the  shadows  deepen,  as  the  sun  drops  low  in 
the  western  sky.  But  just  as  we  meet  the  herd,  the  soft  rays  of  the  sun 
break  through  an  opening  in  the  overhanging  branches,  tinting  the  foliage 
with  its  golden  glory,  while  the  lengthening  shadows  of  the  lazy  cows  move 
like  phantoms  across  the  pale  green  carpet  of  the  witching  woodlands. 
The  youngest  of  the  little  herd,  more  curious  than  her  mates,  listens  intently 
to  the  noisy  cat-bird,  and  the  merry  song  of  the  lark,  as  alone  he  conducts 
his  vesper  service  from  the  pinnacle  of  the  loftiest  tree. 


VASARI  (Giorgio). 

Born  at  Arezzo,  Tuscany,  Italy,  1511. 

Died  in  Florence,  1574. 

“Florentine  School;  pupil  of  his  father,  Antonio  Vasari,  and  afterwards 
of  Andrea  del  Sarto  and  of  Michelangelo.  In  Florence  he  was  patronized 
by  the  Medici,  for  whom  he  executed  many  works  both  agricultural  and 
decorative.”  — Cyclopedia  of  Painters  and  Paintings. 

“He  was  taught  the  rudiments  of  drawing  by  his  father,  and  the  first 
principles  of  painting  by  William  of  Marseilles,  a Frenchman  and  a painter 
on  glass;  but  being  taken  to  Florence  by  Cardinal  da  Cortona,  he  improved 
himself  under  Michelangelo,  Andrea  del  Sarto,  and  other  great  masters.  By 
the  Cardinal  he  was  introduced  into  the  Medici  family;  but  when  they  were 
driven  from  Florence,  he  returned  to  his  native  city.” 

— Pilkingtoris  Dictionary  of  Painters. 

“There  are  many  works  by  Vasari  in  the  different  churches  in  Italy, 
among  which  the  most  remarkable  are  three  sacred  subjects  in  the  refectory 
of  S.  Michele,  in  Bosco,  at  Bologna;  the  Feast  of  Ahasuerus,  in  the  church  of 
the  Benedictines,  at  Arezzo;  the  Adoration  of  the  Magi,  at  the  Conventuali, 
at  Rimini. 

“He  is  allowed  to  have  been  an  able  designer,  and  to  have  been  a 
competent  master  of  the  ornamental  style.” 

— Bryan's  Dictionary  of  Painters  and  Engravers. 

“He  was  instructed  in  design  by  Michelangelo  and  Andrea  del  Sarto;  in 
painting  by  Rosso  and  Guglielmo  da  Marcilla,  an  eminent  glass  painter  of 
that  age.  His  chief  improvement,  however,  was  at  Rome,  whither  he  was 
brought  by  Cardinal  Ippolito  de  Medici,  and  introduced  by  that  nobleman 
to  his  family,  who  afterwards  loaded  him  with  riches  and  honor.  According 
to  Lanzi,  after  having  designed  all  the  works  of  Michelangelo  and  Raffaelle 
at  Rome,  and  much  after  other  schools,  and  the  antique  marbles,  he  formed  a 
style  in  which  we  discover  traces  of  his  studies;  but  his  predilection  for 
Buonarotti  is  apparent.’ 

“Lanzi  further  says,  ‘He  could,  unaided,  direct  the  construction  of  a 


INDEX  AND  BIOGRAPHICAL  NOTES. 


227 


grand  fabric,  adorn  it  with  figures,  grotesques,  landscapes,  stuccos,  gilding, 
and  whatever  else  was  required  to  ornament  it  in  a princely  style.’ 

“By  this  means  he  became  known  in  Italy  and  was  employed  to  exer- 
cise his  talents  in  various  cities.  He  painted  a number  of  pictures  in  the 
Vatican,  also  in  the  Hall  of  the  Chancery,  where  he  executed  a series  of 
historical  frescos  from  the  life  of  Paul  III,  at  the  desire  of  Cardinal  Farneso. 

“Besides  his  works  at  Rome  and  Naples,  Vasari  executed  many  others, 
among  which  are  the  Adoration  of  the  Magi,  in  the  Conventuali  at  Rimini; 
the  Feast  of  Ahasuerus,  in  the  church  of  the  Benedictines  at  Arezzo;  and 
three  sacred  subjects  in  the  refectory  of  S.  Michele,  in  Bosco,  at  Bologna. 
Brought  into  public  notice  by  these  works,  honored  by  the  esteem  and 
friendship  of  Buonarotti,  and  recommended  by  his  multifarious  abilities,  he 
was  invited  to  the  court  of  Cosmo  I,  at  Florence,  whither  he  went  with  his 
family  in  1553. 

“Vasari  conducted  several  works  with  sufficient  care  to  evince  abilities 
of  uncommon  order.  Battari  does  not  scruple  to  compare  some  of  his  por- 
traits to  Giorgione;  Berghim  extols  his  Conception  in  S.  Apostolo,  at 
Florence;  Lanzi  praises  his  Decollation  of  St.  John  in  the  church  at  Rome, 
dedicated  to  that  apostle,  and  says  that  if  all  his  work  had  perished  but 
the  above  and  some  of  those  in  the  Palazzo  Vecchio  at  Florence,  his  reputa- 
tion would  have  been  much  greater. 

“He  was  the  father  of  the  history  of  painting  and  has  transmitted  to 
us  its  most  precious  materials.”  — Spooner's  History  of  the  Fine  Arts. 


No.  350— “The  Holy  Family.” 

35x25. 

The  artist  represents  the  portraits  of  the  infant  Jesus  and  John  the  Bap- 
tist, each  upon  the  knee  of  his  mother,  and  in  the  background  Joseph,  the 
carpenter.  The  portrait  of  Mary  is  exceptionally  well  drawn  and  beautifully 
colored;  but  the  chief  features  are  the  soft,  dimpled  forms  and  childish  sim- 
plicity of  the  two  children.  In  beholding  the  two  innocent  faces,  John  with 
a smile  and  Jesus’  face  serious,  we  are  reminded  that  in  after  life  “John 
came  eating  and  drinking,”  while  Jesus  was  often  known  to  weep,  but  never 
known  to  laugh;  and  the  great  painter  seems  to  foreshadow  the  lives  of 
the  two  men  in  the  splendid  portraits  of  the  infants. 


VERONESE  (Paolo). 

Born  in  Verona  in  1528. 

Died  in  Venice  in  1588. 

Venetian  School. 

Real  name  was  Paolo  Caliari  or  Cagliari. 

“As  Titian  was  then  very  old,  Veronese  shared  with  Tintoretto  the 
most  important  commissions.  He  received  orders  from  the  Emperor  Ru- 
dolph II,  Duke  of  Savoy,  and  the  Duke  of  Modena.” 

— Cyclopedia  of  Painters  and  Paintings. 

“His  first  works  in  Venice  were  for  the  church  of  San  Sebastiano.  Here, 
after  painting  the  ceiling  of  the  Sacristy,  he  was  commissioned  to  undertake 


228 


T.  B.  WALKER  COLLECTION. 


the  ceiling  of  the  church  itself,  which  he  decorated  with  gorgeous  scenes 
from  the  history  of  Esther.  These  were  so  much  admired  that  the  prior 
further  employed  him  to  paint  a beautiful  altar  piece  of  the  Madonna  in 
glory,  and  several  smaller  works.  * * * Indeed,  the  whole  church  of 

San  Sebastiano  glows  with  his  work  and  remains  a splendid  monument  of 
his  masterly  power  and  skill.” 

— Bryan's  Dictionary  of  Painters  and  Engravers. 

“His  taste  was  better  adapted  to  large  than  small  compositions,  for 
though  in  the  latter  his  merit  in  coloring  and  design  was  evident,  yet  in 
the  former  he  displayed  all  the  fire  of  his  imagination  and  the  versatility  and 
magnificence  of  his  invention.  In  most  of  his  large  works  he  was  either 
the  associate  or  competitor  of  Tintoretto;  nor  was  the  prominence  of  either 
ever  determined.  If  Tintoretto  was  allowed  to  imitate  nature  with  superior 
force  and  vivacity  and  more  truth  of  color,  Veronese  was  acknowledged  to 
have  a finer  invention,  more  grace  in  his  figures,  more  dignity  in  his  char- 
acters and  more  elegance.  His  composition  is  grand,  his  design  noble,  and 
executed  with  truth  and  spirit.”  —Pilkington’s  Dictionary  of  Painters. 

“Paolo  Veronese  rivaled  even  Titian  in  the  grandeur  of  his  individual 
forms,  and  Tintoretto  in  the  magnificence  of  his  compositions. 

Paolo  worshipped  beauty  for  its  own  sake  only,  and  was  thoroughly  in 
touch  with  it  in  its  every  manifestation.  His  imagination  was,  it  has  been 
somewhat  carpingly  said,  neither  exalted  or  profound;  but  even  if  this  be 
true,  he  was  undoubtedly  able  to  reproduce  what  he  saw  with  a truthfulness 
and  skill  rarely,  if  ever,  surpassed.  To  interpret  faithfully  the  relations  and 
mutual  effect  of  the  various  figures  and  objects  brought  together  in  one 
scene;  to  translate  successfully  every  subtle  effect  of  light  on  an  infinite 
variety  of  surface  and  gradation  of  color;  to  immortalize  the  lovely  women 
and  noble-looking  men  with  whom  he  was  brought  into  contact,  and  to 
transmute  into  one  harmonious  whole,  in  which  there  was  never  any  con- 
fusion, all  the  scattered  and  conflicting  elements  of  charm  in  the  great  ban- 
queting scenes,  at  which  he  himself  often  assisted,  were  the  chief  aims  of 
the  Master,  and  that  he  fully  realized  them  not  even  the  most  grudging  critic 
can  deny.”  — Biography  of  Paolo  Veronese,  by  Mrs.  Arthur  Bell. 


No.  351 — “ Arranging  the  Toilet.” 

24 14x35. 

In  an  ancient  Roman  bath,  surrounded  by  marble  walls,  a couple  of  maids 
are  giving  the  finishing  touches  to  the  princess’  bath,  while  two  other  maids 
bring  in  the  gowns  ready  to  complete  the  toilet.  A colored  servant  brings  a 
message  announcing  that  he  whom  she  is  expecting,  has  already  arrived 
and  awaits  her  in  the  beautiful  palace  gardens,  indicated  by  the  pointing 
messenger.  The  whole  composition  is  grand,  the  designs  noble,  and  the 
colorings  soft  and  pleasing.  The  modest  grace  of  the  figures  show  the 
characteristic  dignity  and  perfect  purity  in  Veronese’s  art. 


VERBOECKHOVEN  (Eugene  Joseph)  -----  Brussels 
Born  at  Warneton,  West  Flanders,  1799. 

Died,  1881. 

Medals  at  Paris,  1824,  1841,  and  1855. 

Legion  of  Honor,  1845. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


229 


Chevalier  of  the  Orders  of  Leopold,  St.  Michael  of  Bavaria,  and  Christ  of 

Portugal. 

Decoration  of  the  Iron  Cross. 

Member  of  the  Royal  Academies  of  Belgium,-  Antwerp  and  St.  Petersburg. 

He  stands  in  the  first  rank  of  cattle  painters  of  the  present  day  (1880), 
and  is  so  full  of  commissions  that  it  is  difficult  to  get  anything  from  him 
without  infinite  patience.”  — Ottley’s  Painters  and  Engravers. 


No.  352 — “Loch  Lomond.” 

28x47^4. 

From  the  collection  of  A.  T.  Stuart. 

A flock  of  sheep,  attended  by  a Highlander  and  his  dog,  are  being 
hurried  home  to  escape  the  threatening  storm.  The  painting  of  the  sheep 
is  particularly  fine.  Each  one  has  its  individuality  retained  and  expressed. 
Their  wool  is  soft  and  fleecy,  their  eyes  shine,  while  their  hoofs  seem  to 
clatter  along  the  pebbly  road. 

The  figures  are  painted  by  Verboeckhoven,  while  the  landscape  was  the 
work  of  Hoffiaen,  one  of  the  best  known  landscape  artists  of  his  time. 


VUILLEFROY  (Dominique  Felix  de). 

Born  in  Paris,  1841. 

Animal  and  landscape  painter. 
Pupil  of  Hebert,  Bonnat  and  Tryon. 
Medals,  1870  and  1875. 

Legion  of  Honor,  1880. 

Hors  Concours. 


No.  353 — “Swiss  Mountain  Cattle.” 

31^x39. 

Obtained  direct  from  the  Artist. 

In  a narrow,  verdant  valley,  surrounded  by  beautiful  green  tree-capped 
hills,  a herd  of  hardy  mountain  cattle  are  feeding.  Some  are  drinking  at  a 
quiet  pool,  that  reflects  the  hills,  the  sky,  and  the  faces  of  the  cattle.  The 
drawing,  coloring  and  grouping  of  the  cattle,  and  the  fine  landscape  and 
misty  sky  are  worthy  of  especial  notice. 

V/ALKER  (James  Alexander). 

Born  at  Calcutta,  India,  of  French  Parentage. 

At  present  residing  at  Paris,  France. 

Exhibited  in  Salon,  1884. 


230 


T.  B.  WALKER  COLLECTION. 


No.  354 — “Scene  in  the  Franco-Prussian  War.” 

26x37. 

Through  the  narrow  streets  of  a French  village,  the  Prussian  White 
Cuirassiers  are  charging  in  full  force,  their  horses  galloping  at  a mad  pace, 
while  from  the  windows,  roofs  and  balconies  of  the  houses — in  fact,  from 
every  conceivable  point  of  vantage,  the  French  soldiers  at  close  range,  are 
firing  upon  them.  Some  of  the  horses  are  down,  others  have  lost  their  riders. 
On  they  come,  their  valiant  general  in  the  lead.  Certainly,  not  the  least  of 
the  horrors  of  war  are  the  sufferings  of  the  poor  animals,  which  are  made  to 
share  its  disasters  and  its  chances.  The  background  is  one  of  smoke  and 
inextricable  confusion.  Nothing  could  be  more  realistic  than  the  scene  here 
depicted. 


WATSON  (William) - London 

An  English  Painter. 

Pupil  of  Edwin  Landseer  and  Rosa  Bonheur. 

Regarded  by  many  as  the  finest  of  all  modern  sheep  painters. 


No.  355— “Highland  Sheep.” 

24x35 54. 

This  Highland  sheep  scene  is  beautifully  drawn,  rich  and  harmonious  in 
color,  finely  balanced,  very  soft  in  tone,  and  generally  regarded  as  one 
of  the  finest  sheep  pictures  in  America.  The  landscape  is  as  soft  and  rich 
in  color  as  a Daubigny;  the  sheep  are  as  natural,  as  well  drawn,  and  as 
beautifully  colored  as  could  be  done  by  either  Landseer  or  Rosa  Bonheur. 
The  positions  are  all  natural,  and  the  sheep  themselves  look  like  real  life. 
The  cattle  on  the  farther  hills,  the  valley  with  the  river  in  the  distance,  and 
th  blue  mountains  away  beyond,  blending  with  the  gray  and  light  yellow 
sky  and  mixed  fleecy  clouds,  together  make  it  one  of  the  most  generally 
attractive  and  popular  pictures  of  the  collection. 


WESTERBEEK  (C). 


No.  356 — “Pastoral  Scene  in  Holland.” 

26x45. 

Here  we  have  a rural  scene  in  Holland.  Occupying  the  left  of  the 
canvas  is  a river  on  whose  shallow  edges  grow  long  brown  grasses  which 
are  reflected  in  the  still  water.  Several  cows  are  lazily  feeding  on  the  green 
grass.  Farther  on  is  a meadow  of  shrubbery  running  out  into  the  water, 
while  away  in  the  distance  can  be  seen  on  the  bank  of  the  river  an  old  Dutch 
windmill.  The  sky  is  a deep  blue,  gradually  growing  paler  as  it  stretches 
off  to  the  horizon.  A pastoral  scene  as  soft  and  beautiful  as  though  painted 
by  Mauve  or  Troyon. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


231 


WILSON  (Richard). 

Born  at  Pinegas,  Montgomeryshire,  Aug.  1,  1713. 

Died  at  Llanberris,  Carnarvonshire,  May,  1782. 

Landscape  and  portrait  painter. 

Pupil  of  Thomas  Wright. 

Later  studied  in  Italy. 

His  picture  of  “Niobe”  gained  him  recognition  on  its  exhibition  at  the 
Society  of  Fine  Arts.  It  was  purchased  by  the  Duke  of  Cumberland.  Wilson 
was  one  of  the  original  members  of  the  Royal  Academy,  and,  in  1776,  was 
appointed  its  librarian. 

“Long  after  his  death  the  popular  taste  became  educated  to  his  standard, 
and  he  is  now  regarded  as  one  of  the  greatest  of  English  landscape  painters.” 

— Cyclopedia  of  Painters  and  Paintings. 

“In  1749  he  was  employed  by  Dr.  Hayter,  then  their  tutor,  to  paint 
portraits  of  the  Prince  of  Wales  and  the  Duke  of  York.  There  are  many 
portraits  by  him  at  the  Garrick  Club  and  in  private  collections.  Richard 
Wilson  was  the  greatest  landscape  painter  which  the  British  School  produced 
up  to  the  end  of  the  last  century.”  — Painters  and  Their  Works. 

“The  style  of  Wilson  is  altogether  original.  Following  nature  as  his 
guide,  he  adopted  a varied  and  interesting  manner,  distinguished  for  its 
boldness  and  fidelity  to  nature,  yet  entirely  classical.  He  avoided  the  acquisi- 
tion of  all  adventitious  beauties  and  escaped  the  mannerism  which  generally 
arises  from  the  too  partial  study  of  favorite  masters.” 

— Spooner’s  History  of  the  Fine  Arts. 

“Of  the  style  of  Wilson  it  might  be  sufficient  to  observe,  that  it  formed 
an  epoch  in  English  landscape  painting;  being  equalled  by  none  before,  and 
perhaps  not  surpassed  by  any  who  have  followed  in  the  same  line.  His 
claims  to  praise  are  grandeur  in  the  choice  or  invention  of  his  scenes,  felicity 
in  the  distribution  of  his  lights  and  shadows,  freshness  and  harmony  in  his 
tints.  Mr.  Fuseli  says,  in  his  figurative  manner,  that  ‘Wilson’s  taste  was  so 
exquisite,  and  his  eye  so  chaste,  that  whatever  came  from  his  easel  bore 
the  stamp  of  elegance  and  truth.  The  subjects  he  chose  were  such  as  did 
credit  to  his  judgment;  they  were  selections  of  taste;  and  whether  of  the 
simple,  the  elegant,  or  the  sublime,  they  were  treated  with  an  equal  felicity. 
Indeed,  he  possessed  that  versatility  of  power,  as  to  be  one  minute  an  eagle 
sweeping  the  heavens,  and  the  next  a wren  twittering  a simple  note  on  the 
humble  thorn.’  His  coloring  was  in  general  vivid  and  natural;  his  touch 
spirited  and  free;  his  composition  simple  and  elegant;  his  lights  and  shadows 
broad  and  well  distributed;  his  middle  tints  in  perfect  harmony;  while 
his  forms  in  general  produced  a pleasing  impression.” 

— Pilkington’s  Dictionary  of  Painters. 

“Richard  Wilson  was  the  greatest  landscape  painter  which  the  British 
School  produced  up  to  the  end  of  the  last  century.  Fashion  may  at  one  time 
cause  works  of  an  artist  to  rise  artificially  above,  and  at  another  to  sink 
below,  their  real  value,  but  where,  as  in  case  of  Wilson’s,  the  prices  paid 
for  them  at  auctions  have  remained  about  the  same  for  a century,  no  amount 
of  adverse  and  prejudiced  criticism  will  prove  that  they  are  worthless,  or 
that  the  favorable  opinion  of  those  who  purchased  them  was  wrong.” 

— Painters  and  Their  Works,  Vol.  3,  Page  308. 


232 


T.  B.  WALKER  COLLECTION. 


No.  357 — “On  the  Banks  of  the  Tiber.” 

33x44 J*. 

Painted  in  the  style  of  Claude,  and,  by  general  assent,  as  fine  and  beau- 
tiful as  any  landscape  ever  produced  by  that  artist. 

On  the  right,  almost  hidden  from  view  by  stately  trees,  is  seen  the 
ruins  of  a magnificent  palace,  with  approaches  leading  down  to  an  arched 
bridge  crossing  the  river.  Farther  away,  on  the  left  shore  of  the  river,  are 
the  remains  of  other  castles,  with  rugged  hills  rising  abruptly  in  the 
background. 

The  magnificent  valley  is  visible  almost  as  far  as  eye  can  reach,  while 
shepherds  occupy  the  historic  ruins  as  sheepfolds,  and  the  fertile  valley  as 
pastures. 

The  distribution  of  lights  and  shadows  is  unsurpassed — the  outlines 
pleasing,  the  coloring  most  harmonious,  soft  and  beautiful. 

No.  358 — “Landscape  Near  Tivoli.” 

37x49. 

From  Howard’s  sale  in  1872. 

Tivoli  is  an  Italian  city  of  about  10,000  inhabitants,  situated  seventeen 
miles  northeast  from  Rome  on  one  of  the  spurs  of  the  Monte  Ripoli,  830 
feet  above  the  sea. 

The  bridge  in  the  picture  spans  the  river  Anio,  whose  great  mass  of 
waters  fall  over  a lofty  cliff  near  the  city  of  Tivoli,  but  at  this  point  we 
behold  the  rapids  below  the  falls.  In  the  foreground  three  men  stand 
conversing  while  one  points  in  the  direction  of  the  roaring  cataract  back 
of  the  grand  trees  which  border  the  shore. 

A quaint  old  building  occupies  a small  wooded  plain  on  the  opposite 
shore,  while  beyond,  the  foot  hills  rise  one  above  another,  overshadowed  by 
the  towering  mountain  whose  summit  is  partially  hidden  by  the  fleecy,  white- 
capped  clouds.  The  tone  is  somewhat  after  the  style  of  Vander  Mueller, 
although  much  more  fresh  and  harmonious. 


WYANT  (Alexander  FI.). 

American  School. 

Born  in  Fort  Washington,  Ohio,  Jan.  11,  1836. 

y <■  v f,  $ " / ,:  q *■: 

Academician  in  American  Academy,  New  York,  1869. 

Landscape  painter. 

Pupil  of  Hans  Gude  in  Carlsruhe,  1866. 

Studied  Turner  and  Constable  in  London. 

“Exhibited  first  at  the  National  Academy,  New  York,  in  1865.  Elected 
an  A.  N.  A in  1868  and  N.  A.  in  1869.  Studio  in  New  York.” 

— Cyclopedia  of  Painters  and  Paintings. 

“Mr.  Wyant’s  landscapes  in  recent  years  have  received  a great  deal 
of  attention  and  intelligent  admiration,  and  the  spectator  who  appreciates 
tnem  would  think  it  almost  incredible  that  their  maker  ever  studied  at 


INDEX  AND  BIOGRAPHICAL  NOTES. 


233 


Dusseldorf.  * * * It  is  to  the  influence  of  Constable  primarily  that  the 
pictures  of  Mr.  Wyant,  like  those  of  the  best  French  landscape  painters,  owe 
their  breadth  and  freedom  of  treatment.  * * * His  soft  far  distances  and 
immediate  foregrounds  are  alike  impressive  in  contradistinction  to  being 
didactic.  * * * And  his  art,  like  all  good  art,  is  delicate,  simple  and 
direct.  * * * He  interprets  the  beauty  of  the  unseen  and  the  lasting, 

and  if  he  is  sometimes  less  perspicacious  than  he  might  be,  the  failing  is 
one  that  leans  to  virtue’s  side.”  — American  Painters  by  G.  W.  Sheldon. 


No.  359 — “A  New  England  Landscape/’ 

17^x2554. 

A broad  breach  in  the  dense  hedge  of  water,  beach  and  hazel  bordering 
the  rocky  shore  of  a crystal  brook,  brings  to  view  the  green  meadows  and 
distant  hills  of  a New  England  landscape.  On  a grassy  knoll  to  the  right, 
two  sturdy  elms  stand  as  sentinels  o’erlooking  the  broad  meadow  land 
beyond.  At  this  point  an  unfrequented  roadway  fords  the  stream,  winding  its 
devious  way  to  the  hilly  country  beyond.  The  threatening  clouds  and  the 
peculiarly  ominous  light,  all  but  obscuring  the  distant  hills,  portend  a coming 
storm.  A splendid  painting  by  one  of  America’s  leading  landscape  painters. 


ZAMPXERI  (Domenico). 

Commonly  known  as  “Domenichino.” 

Belognese  School. 

Born  in  Bologna,  Oct.  21,  1581.  Died  in  Naples,  April  15,  1641.  Pupil 
of  Denis  Calvaert  and  later  of  Carracci.  Appointed  architect  of  the  Apostolic 
Chamber  by  Gregory  XV.,  1620. 

“Was  placed,  when  young,  under  the  tuition  of  Dionysius  Calvaert;  but 
being  treated  with  severity  by  that  master  for  copying  a drawing  by  Anni- 
bale Carracci,  he  prevailed  on  his  father  to  remove  him  to  the  Academy  of 
Carracci,  where  Guido  and  Abbani  were  students.  On  the  first  award  of  a 
prize  after  his  admission,  Domenichino  was  hailed,  much  to  his  own  aston- 
ishment, as  the  successful  candidate,  and  this  triumph  incited  him  to  greater 
assiduity.  He  contracted  an  intimacy  with  Albani,  and  on  leaving  the 
school  of  the  Carracci,  they  visited  together  Parma,  Modena,  and  Reggio, 
to  study  Correggio  and  Parmigiano.  On  their  return  to  Bologna,  Albani 
went  to  Rome  and  was  soon  afterwards  followed  by  Zamprieri.  * * * 
In  the  first  half  of  the  nineteenth  century,  his  reputation  with  amateurs  al- 
most rivalled  that  of  Raphael.” 

— Bryan's  Dictionary  of  Painters  and  Engravers. 

“After  studying  works  of  Correggio  and  of  Parmigiano  at  Parma,  and 
Modena,  went  to  Rome  and  aided  Annibale  Carracci  in  the  Farnese  frescoes. 
He  soon  became  distinguished  as  an  accurate  designer  and  a true  colorist, 
and  was  employed  in  painting  frescoes  by  Cardinals  Borghese,  Farnese,  and 
Aldobrandini.  In  1630,  * * * he  went  to  Naples  to  decorate  the  chapel 
of  S.  Januarius  in  the  Cathedral  with  frescoes  of  events  in  the  Saint’s  life, 
but  before  they  were  finished,  he  was  so  persecuted  by  the  notorious  cabal, 
— the  painters  Corenzio,  Spagnoletto,  and  Caracciolo — that  he  worried  him- 
self to  death,  or  as  is  suspected,  died  of  poison.” 

— Cyclopedia  of  Painters  and  Paintings. 


234 


T.  B.  WALKER  COLLECTION. 


“His  great  picture  in  oils  is  that  by  which  his  talents  are  usually  esti- 
mated, and  it  is  therefore  as  well  to  recall  the  fact  that  Nicolas  Poussin,  a 
man  who  knew  what  is  bad  or  good  in  art,  gave  it  as  his  opinion  that  among 
the  pictures  in  oil  in  Rome,  it  (The  Last  Communion  of  S.  Jerome)  was  the 
next  best  to  the  “Transfiguration,”  by  Raphael.  * * * It  is  only  neces- 
sary to  examine  the  volumes  devoted  the  works  of  Domenichino  in  London’s 
“Vie  et  Oeuvres  des  Peintres  les  plus  celebres,”  1803-1834,  to  be  convinced 
that  he  was  one  of  the  greatest  artists  that  Italy  has  produced.” 

— Painters  and  Their  Works. 

• 


No.  360— “Saint  Cecelia.” 

45x38. 

From  the  collection  of  Lord  Buckland. 

One  of  the  many  circumstances  related  in  the  legends  concerning  St. 
Cecelia  is  that  she  often  accompanied  her  voice  with  instrumental  music  in 
singing  praises  to  the  Lord.  Upon  this  all  her  fame  has  been  founded  and 
she  is  regarded  as  the  special  patroness  of  music  and  musicians  the  world 
over.  One  legend  describes  her  as  a rich  Roman  lady,  who  lived  in  the 
time  of  Emperor  Alexander  Severus  about  230  A.  D.  Bishop  Portiers,  how- 
ever represents  her  to  have  died  in  Sicily  between  the  years  176  and  180  A.  D. 

The  Church  of  St.  Cecelia,  it  is  alleged,  was  built  by  Urban  I.,  on  the 
site  of  the  house  inhabited  by  Cecelia,  in  a part  of  the  city  called  Trastevere, 
near  the  Ripa  Grande,  the  traditional  “Fero  degi  Eberi,”  or  quarters  as- 
signed to  the  Jews.  In  the  picture  she  is  seated  by  a table  playing  upon  an 
ancient  lute  or  guitar.  On  the  velvet  covered  table  in  front  of  her  lies  a violin, 
two  music  books,  an  ink  stand,  and  another  instrument  of  the  same  variety 
as  the  one  upon  which  she  plays.  The  composition  is  all  but  faultless,  the 
colors  pleasing,  and  the  finish  in  the  style  of  his  great  master,  the  Carracci. 


ZIEM  (Felix)  ------ France 

Born  at  Beaune  (Cote-d’Or),  1821. 

Died  at  Paris,  Nov.  10,  1911. 

Architectural  and  marine  painter. 

Pupil  of  Art  School  at  Dijon. 

Traveled  in  1845-1848  in  Southern  France,  Italy  and  the  East. 

Medals,  1851,  1852,  and  1855. 

Legion  of  Honor,  1857;  Officer,  1878. 

“His  pictures,  especially  his  views  of  Venice,  have  won  for  him  a 
world-wide  reputation.”  — Cyclopedia  of  Painters  and  Paintings. 

“Felix  Ziem  must  not  be  forgotten  for  the  glowing  Venetian  views, 
architectural  and  marine,  which  we  owe  to  his  brush.  His  tastes  are  all 
Oriental,  though  he  has  painted  a splendid  ‘View  of  Antwerp,’  as  well  as 
‘View  of  Constantinople.’  ” — RadclifFe’s  Schools  and  Masters  of  Painting. 


235 


INDEX  AND  BIOGRAPHICAL  NOTES. 

No.  361 — “Looking  Up  the  Grand  Canal.” 

1214x16. 

The  blue  waters,  slightly  rippled  by  the  soft  morning  zephyrs,  reflect  in 
varied  tints  the  glories  of  the  eastern  sky.  The  sun,  like  a golden  sphere,  is 
just  rising  above  the  horizon  and  as  yet  few  gondolas  are  afloat  on  the 
grand  canal.  On  the  right,  the  resplendent  white  dome  of  a great  cathedral 
and  the  spires  and  roofs  of  other  important  buildings  are  dimly  discernible 
through  the  mellow  light  of  the  early  morning.  Venice  was  Mr.  Ziem’s 
inspiration,  and  his  most  characteristic  works,  therefore,  are  his  glowing 
views  of  this  historic  city. 


No.  362 — “On  the  Grand  Canal,  Venice.” 

32x48. 

This  is  regarded  by  many  as  the  best  picture  painted  by  this  artist. 
The  water  appears  so  liquid,  semi-transparent,  soft  and  rich  in  color.  The 
boats  are  painted  in  the  rich  colors  common  to  this  artist,  although  much 
finer  and  better  than  in  his  more  rapidly  executed  work.  The  sun  shines 
down  the  center  of  the  Grand  Canal  from  the  far  distance.  The  sky  is 
colored  with  a rich  yellow  tinge  around  the  sun,  and  graduating  off  into  the 
fleecy  clouds  in  the  upper  and  outer  background.  The  Palace  of  the  Doges 
is  on  the  right  side,  and  a large  gondola  on  the  left  side  balances  up  the 
picture.  There  are  many  boats  along  the  shore  line  and  farther  out  into 
the  canal,  with  numerous  persons  gathered  on  the  wharf  on  the  right  and  in 
the  foreground.  It  is  a picture  as  soft  and  rich  in  color  as  a Turner, 
although  not  by  any  means  an  imitation  of  the  work  of  that  artist. 


No.  363 — “The  Piazza,  or  Square  of  St.  Mark.” 

27x42. 

This  great  square  is  200  feet  broad  by  570  feet  long,  and  fronts  on 
the  sea.  Many  of  the  largest  buildings  have  their  frontage  on  this  piazza, 
and  may  be  seen  on  the  left  far  into  the  distance.  All  manner  of  vessels  are 
seen  on  the  water  front,  and  all  business  seems  to  be  forgotten,  as  the 
city  is  given  over  to  a grand  holiday  fete.  The  people  throng  the  streets, 
and  the  whole  city  seems  clad  in  gala  attire.  There  are  two  large  columns 
in  this  square  called  “The  Columns  of  St.  Mark.”  On  top  of  the  one  seen 
in  the  picture  is  a winged  green  Lion,  while  the  other  is  surmounted  by  a 
knight  holding  a shield  bearing  a cross.  The  resplendent  coloring  of  the 
building  and  other  objects  set  in  a background  of  magnificent  blue  makes 
an  exceedingly  pleasing  and  interesting  picture. 


No.  364 — “Venice,  the  Queen  of  the  Sea.” 

23x31. 

On  the  left  of  the  Grand  Canal  are  many  large  buildings,  and  still 
further  one  sees  the  polished  domes  of  temples  and  the  towering  spires  of 
churches  until  the  outlines  are  lost  to  view  in  the  declining  twilight. 

The  larger  ships  have  anchored  for  the  night  and  the  sun  dips  low  in 


236 


T.  B.  WALKER  COLLECTION. 


the  west,  his  slanting  rays  turning  the  blue  waters  to  gold  and  adding  glory 
to  a beautiful  southern  sky.  A few  pleasure  craft  are  already  seen,  and  soon 
we  may  hear  the  gondolier’s  song: 

“My  gondola’s  lying  below,  love, 

Come  open  thy  lattice  tonight, 

The  waters  invitingly  flow,  love, 

The  moon  on  their  bosom  shines  bright.” 


No.  365—- “Venice” 

25x39. 

The  artist  here  gives  us  a splendid  view  of  the  Grand  Canal,  its  limpid 
waters  reflecting  the  blue  and  gold  of  the  southern  sky,  and  the  outline  of 
numerous  craft  floating  upon  its  crystal  surface. 

To  the  right  is  the  magnificent  Palace  of  the  Doges,  or  Governors  of 
Venice,  while  far  away  on  the  left  is  seen  the  domes  and  towers  of  numer- 
ous churches  and  palaces  rising  one  above  another  until  lost  to  view  in 
the  dim  distance. 


No.  366 — “On  the  Coast  of  Morocco.” 

21x32. 

Pronounced  one  of  the  best  of  Ziem’s  smaller  paintings.  Emerging 
from  the  shadows  of  a clump  of  trees  bordering  the  shore,  is  a typical 
Moorish  boat  laden  with  no  less  than  fourteen  native  Berbers,  Arabs  and 
Moors,  each  dressed  in  his  own  peculiar  garb.  The  waters  mirror  back  the 
deep  blue  of  the  southern  sky,  and  the  brilliant  colors  of  the  costumes  worn 
by  the  occupants  of  the  boat.  The  mellow  rays  of  the  setting  sun  lend  a 
soft  glow  to  the  distant  clouds,  and  shed  their  glory  over  the  great  white 
mosque,  and  the  quaint  city  which  clusters  about  it.  Sea-fowls  hurriedly 
scan  the  waters  in  search  of  their  evening  meal,  while  the  sun  like  a great 
ball  of  fire  slowly  sinks  from  view  behind  the  watery  expanse  of  the  broad 
Atlantic. 


No.  367— “Celebrating  on  the  Grand  Canal.” 

2654x41. 

Considered  by  art  critics  as  one  of  Felix  Ziem’s  choicest  Venetian  scenes. 
The  occasion  is  thought  to  be  the  Doge’s  annual  fete,  and  the  splendid  boat 
carrying  the  profusion  of  penants,  the  flag  ship  of  his  honor  the  governor 
(Doge)  of  Venice.  The  surface  of  the  water  slightly  “choppy”  from  a 
freshening  breeze,  and  o’ershadowed  by  a partially  cloudy  sky,  does  not  show 
the  clear  mirror-like  brilliancy  so  noticeable  in  others  of  this  artist’s  works, 
but  this  fact  only  adds  to  its  merit.  For  although  he  has  chosen  a much 
more  difficult  composition,  produces  in  the  water  a combination  of  tones 
and  colors  that  are  not  only  true  to  nature,  but  have  in  themselves  a 
charm  peculiarly  their  own,  and  a beauty  as  pleasing  as  those  more  clear  and 
transparent.  The  lines  of  imposing  buildings  stretching  away  on  either  side 
mark  the  course  of  the  Grand  Canal,  the  principal  highway  of  ancient  Venice. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


237 


No.  368 — “Boat  Racing,  Venice.” 

26^x45. 

The  long  line  of  buildings  on  the  right,  ending  with  the  great  white  dome 
in  the  distance,  includes  the  Doge’s  and  other  palaces,  and  a number  of  grand 
old  churches,  for  which  the  city  is  famous.  In  the  foreground  a multitude 
of  boats  and  small  crafts,  some  as  contestants,  other  as  spectators  to  the 
grand  fete,  dot  the  city’s  grand  highway.  The  promising  breeze  that  fans 
the  sails  of  the  larger  craft,  has  not  as  yet  ruffled  the  surface  of  the  water, 
and  mirror-like  they  reflect  into  their  depths  the  deep  blue  of  the  southern 
sky,  the  brilliant  pennants  of  the  boats,  and  the  gay  attire  of  the  numerous 
merrymakers.  The  whole  composition  is  charming  and  the  water  simply 
marvelous. 


No.  369 — “A  Venetian  Revery.” 

28^x38^. 

It  is  late  afternoon  when  the  slanting  rays  of  the  sun  are  tempered  by 
the  soft  evening  breezes  coming  in  from  the  sea,  and  gay  throngs  already 
begin  to  congregate  under  the  shadows  of  the  buildings,  ready  for  a glide 
on  the  canal  in  some  one  of  the  numerous  gondolas,  barcas  and  launches 
lying  at  anchor  in  the  vicinity.  On  the  right  is  the  Palazzo  Ducabe,  or 
Palace  of  the  Doges,  first  erected  in  800  A.  D.  and  rebuilt  in  styles  of  ever- 
increasing  grandeur  after  five  destructions.  The  interior  is  exceptionally 
fine  and  contains  many  works  of  the  old  masters,  including  “Paradise”  by 
Tintoretto,  the  largest  oil  painting  in  the  world.  The  famous  “Bridge  of 
Sighs”  leads  from  the  Ducal  palace  to  the  Prigioni  Criminali  (prison  for 
ordinary  criminals).  Among  the  other  palaces  along  the  Grand  Canal  are 
Corner  della  Ca  Grande,  Grimani,  Farsetti,  Lovedan,  Rozzanico,  Foscari, 
Cappello,  Layard,  Bernardo,  Ca  Doro,  etc.,  some  of  which  are  shown  in 
this  interesting  painting.  The  Grand  Canal  is  about  two  miles  long,  but  as 
its  course  is  somewhat  like  a letter  S,  it  is  impossible  at  any  point  to  secure 
a general  view.  In  the  picture  the  waters  mirror  back  the  deep  golden  color 
of  the  summer  clouds  and  sky  and  the  shadows  and  tones  of  the  objects 
floating  on  its  surface. 


ZUCCARO  (Frederigo)  “Zucchero.” 

Born  at  St.  Angelo  in  Vado,  1543. 

Died  at  Ancona,  1609. 

Placed  under  the  tuition  of  his  brother  Taddeo  at  Rome  when  but  seven 
years  of  age. 

Established  the  Academy  of  St.  Luke,  at  Rome,  under  letters  patent 
from  Sixtus  V. 

“He  was  employed  by  Pope  Pius  IV.  in  conjunction  with  Borocci  in 
the  Belvedere  where  he  painted  ‘The  History  of  Moses  and  Pharaoh/  ‘The 
Marriage  in  Cana,’  and  ‘The  Transfiguration.’  These  works  gained  him  great 
credit;  and  Taddeo  furnished  him  with  further  opportunities  of  distinction  by 
making  him  his  coadjutor  in  the  Vatican,  and  in  the  Villa  Farnese  at 
Caprarola.  * * * On  the  death  of  Taddeo,  in  1556,  Gregory  XIII.  en- 
gaged Frederigo  to  paint  the  vault  of  the  Capella  Paolina,  but  quarreling 


238 


T.  B.  WALKER  COLLECTION. 


with  some  of  the  Pope’s  officers,  the  painter  took  refuge  in  France.  * * * 

From  France  he  went  to  Antwerp  where  he  painted  several  cartoons  for 
tapestry;  then  to  Amsterdam,  and  in  1574  to  England.  * * * It  is  affirmed 
by  Lord  Orford  that  Mary  Queen  of  Scots  sat  to  him.” 

— Painters  and  Engravers. 

“In  1572  he  went  to  France  and  soon  after  to  Flanders,  Holland,  and 
England.  He  painted  several  portraits  of  Queen  Elizabeth  and  other  dis- 
tinguished personages.  He  was  the  author  of  a treatise  on  painting,  sculp- 
ture and  architecture.”  — Cyclopedia  of  Painters  and  Paintings. 


No.  370 — “Mary,  Queen  of  Scots.” 

18x13. 

From  the  collection  of  the  Duke  of  Portland. 

Mary  Stuart,  Queen  of  Scots,  was  the  only  surviving  daughter  of  James 
V.  and  Mary  of  Guise  (or  Lorraine),  who  was  a daughter  of  the  French 
Duke  of  Guise.  Mary  Stuart  was  born  at  Linlithgow,  about  December  7, 
1542,  and  as  her  father,  James  V.  died  only  a few  days  after  her  birth,  Mary 
wras,  in  September,  1543,  crowned  by  Cardinal  Beaton,  a prelate  of  the  Roman 
Catholic  party,  who  had  usurped  the  office  of  regent.  Henry  VIII.,  of 
England,  determined  to  obtain  the  hand  of  Mary  for  his  son,  hoping  thus 
to  unite  the  two  countries,  but  an  arrangement  had  been  made  whereby  she 
was  to  marry  the  Dauphin  of  France.  She  was,  therefore,  in  1548,  sent  to 
Paris  to  complete  her  education  and  before  her  marriage  to  the  Dauphin, 
in  April,  1558,  she  was  not  only  the  most  brilliant,  but  the  most  beautiful 
woman  in  all  Europe.  On  the  death  of  Henry  II.  her  husband  ascended 
the  throne  of  France  as  Francis  II.  (1559);  then,  following  the  death  of  the 
English  Queen  Mary,  Francis  and  Mary  assumed  the  titles  of  King  and 
Queen  of  England,  refusing  to  recognize  the  right  of  Elizabeth.  Francis’ 
sudden  death,  in  December,  1560,  however,  clouded  Mary  Stuart’s  brilliant 
prospects.  She  went  to  Scotland  in  August,  1561,  but  her  marriage  to  her 
cousin,  Lord  Darnley,  and  intriguing  with  the  King  of  France  for  the  exter- 
pation  of  heresy,  made  her  extremely  unpopular.  It  is  believed  that  she 
plotted  the  killing  of  Darnley,  by  blowing  up  the  house  in  which  he  was 
lying  ill,  and  soon  after  married  the  Earl  of  Bothwell,  her  partner  in  the 
crime.  In  June,  1567,  she  was  taken  prisoner  and  confined  on  a little 
island  in  Lock  Leven.  She  abdicated  in  favor  of  her  son,  then  escaped  and 
threw  herself  upon  the  mercy  of  her  rival  Elizabeth,  and  was  tried  and  be- 
headed, February  8,  1587.  All  contemporaries  agree  in  ascribing  to  her 
the  utmost  beauty  of  countenance  and  elegance  of  shape  of  which  the  human 
form  is  capable.  She  had  black  hair,  dark  grey  eyes,  exquisite  hands  and 
arms,  and  a stature  that  rose  to  the  majestic.  Zuccaro,  without  doubt, 
produced  the  portrait  in  France  between  1558  and  1561. 


No.  371— “Queen  Elizabeth.” 

Oval  Panel — 19^x13. 

From  the  collection  of  the  Duke  of  Portland. 

She  was  the  daughter  of  Henry  VIII,  and  of  Anne  Boleyn  and  was  born 
at  Greenwich,  September  7,  1533.  She  was  endowed  with  superior  mental 


INDEX  AND  BIOGRAPHICAL  NOTES. 


239 


powers,  which  were  diligently  improved  by  study,  and  under  the  tuition  of 
Roger  Ascham,  she  attained  a proficiency  in  classical  learning.  Before  the 
age  of  seventeen,  she  was  mistress  of  the  French,  Latin  and  Italian  languages, 
and  had  read  several  works  in  Greek.  She  was  attached  by  her  education  to 
the  Protestant  faith,  and  her  sister,  Queen  Mary,  regarding  her  with  jealousy, 
had  her  imprisoned  in  the  tower  in  1554,  but  public  sentiment  caused  her 
release  after  a few  months.  Upon  the  death  of  Mary  in  1558,  Elizabeth  was 
proclaimed  Queen,  but  this  act  was  ignored  by  Mary  Stuart  and  her  consort, 
Francis  II.,  King  of  France,  who  assumed  the  title  of  King  and  Queen  of 
England.  Elizabeth  endeavored  to  reform  religious  service  without  offense 
to  the  warring  factions,  but  when  her  good  offices  were  scorned,  parliament, 
in  1559,  vested  in  the  crown  supremacy  in  religion  as  well  as  in  civil  mat- 
ters. Her  reign  was  considered  eminently  beneficial  and  glorious  to  the 
nation  and  although  her  personal  character  was  deformed  by  selfishness, 
inconstancy,  deceit,  heartlessness,  and  other  unwomanly  faults,  yet  she  has 
generally  been  regarded  as  a ruler  of  eminent  ability  and  courage.  She 
died  in  1603.  The  painting,  although  somewhat  lacking  in  tone,  is  considered 
a remarkable  likeness. 


LOS  ANGELES  MUSEUM 
EXPOSITION  PARE 


I*.  .... 


■ •(  .•  >.  . - 


v 5 1 8 -9  2 


1 


GETTY  CENTER  LIBRARY 

N 5220  W16  D3 
c.  1 

Descriptive  catalogue  of  the  Thomas  B.  W 


MAIN 


BKS 


3 3125  00242  6282 


